Tom Pollock

Personal Info

Known For

Production

Known Credits

0.1761

Gender

Male

Birthday

10-Apr-1943

Age

(82 years old)

Place of Birth

Los Angeles, California, U.S.

Also Known As
  • Thomas Philip Pollock

Tom Pollock

Biography

Thomas Philip Pollock (April 10, 1943 – August 1, 2020) was an American film producer and studio executive. He started his career as an entertainment lawyer, before transitioning to a studio executive and film producer. He was the chairman of the board of trustees of the American Film Institute, an adjunct professor of film at the University of California, Santa Barbara, a trustee of the Los Angeles Music Center and a member of the California Bar Association. He was also co-owner of The Montecito Picture Company. Description above from the Wikipedia article Tom Pollock, licensed under CC-BY-SA, full list of contributors on Wikipedia.


Credits

Moments of Discovery: The Making of Fried Green Tomatoes Moments of Discovery: The Making of Fried Green Tomatoes (1998) Character: Self
An original documentary exploring one of America's most beloved films. Take a journey with director Jon Avnet, actresses Kathy Bates, Jessica Tandy, Mary Stuart Masterson, Mary-Louise Parker, along with many others, through the experience of creating this memorable film.
An Oral History of: Schindler's List An Oral History of: Schindler's List (2018) Character: Self (archive footage)
Revisiting the making of the film through the voices of those involved, including director Steven Spielberg and stars like Liam Neeson and Ben Kingsley. These accounts reveal the challenges of bringing Thomas Keneally's book to the screen, from production difficulties in Poland to the studio's initial reluctance to the all-black-and-white cinematography. The oral history also explores the film's enduring legacy.
What She Said: The Art of Pauline Kael What She Said: The Art of Pauline Kael (2019) Character: Self
Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.



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