5 Minutes with… Michael Ritchie
Before Revolver, Michael Ritchie was the head of television at Ogilvy Sydney and DDB Hong Kong. While his agency days are behind him, the skills learnt within adland continue to inform the day-to-day running of Revolver.
In 1999, Michael worked with director Steve Rogers and was immediately blown away with his craft. It wasn’t long before the two of them hatched the plan to create one of Australia’s best production companies.
Having the advertising advantage has put Revolver at the top of their game within the commercial creativity sector.
Michael spoke to LBB’s Casey Martin about the incredible pride he feels for the company he’s created with Steve, and their ability to put 100% of their heart into the work.
LBB> When choosing to leave agency land and create Revolver with Steve Rogers in 1999, what was it about production that made you want to take that leap?
Michael> To be honest, the very first time on set with Steve, way back then, I just watched how he found a frame, how he set up a shot, how he directed that shot and I was blown away. He has really just kept on pressing and getting better ever since. Having this partnership with Steve has been an amazing ride, and just gets better to be honest. Not only is he a wonderful director, but he is also a very solid person and very good friend – I am lucky. Revolver has grown over that time, and I am incredibly proud of our roster, of the work we do, and equally proud of every individual in the office.
LBB> Does creativity differ between the production and agency worlds? How are they different and how can one benefit from the other?
Michael> My time in agencies was a while ago, but it still informs my everyday life here. Seeing an agency in peak form is incredible and we really get an elevated start point to make something great, with courage, enabling us to concentrate on making the good bits great instead of running around covering the arse of fear - It sounds convenient for an LBB article but it’s just how it really is. Regardless, we have a massive respect for the work an agency and a client have had to do before work has got to us. The magic is to understand that but to also ensure our directors still push the objective boat out in response. As an aside, the greatest thing about pitching against two other companies is the notion that when we win the job, the decision to use us is informed by the other alternatives, so the creative mandate the agency gives us to do what we said in the treatment is implicit. It works. Clients really do benefit from this intensity of competition to execute their work…. It's a lot of work for us all but it’s the best way!
LBB> Winning two Grand Prix at Cannes is an incredible achievement! Congratulations! How has this win affected the team at Revolver? What does it mean to you?
Michael> One for best of craft with Steve’s ‘1 Square Meter’ for Hornbach and one for Sydney Opera House’s ‘Play it safe’ that Grand Prix's for film – directed by the amazing Kim Gehrig. Really, honestly could not be prouder of this – and equally proud of our partner, Pip Smart, who structured herself out EP-ing to produce “Play it Safe’ with Kim.
A massive undertaking and the only way we were ever going to make that project happen. More than anything, being there on the final night of Cannes, watching the work with thousands of your peers on a massive screen and palpably seeing that audience respond is a special feeling.
LBB> What does creativity in general mean to you and how do you foster it?
Michael> That’s a lofty, scary, big question, but the response to the notion of ‘creativity’ has to be a dynamic one. There are some wonderful ideas out there and we must do whatever we can to make people feel that we are one of their first conversations to have to bring that idea to life. To be that first conversation means Revolver must be continuously evolving (yep, lop off the ‘r’s). We cannot stagnate. It sounds tiring but we just can’t settle, I guess that is my relationship with creativity.
LBB> What would you say to the Michael of 1999 about his future? Do you think he would be proud of where you are now?
Michael> Funny you asked this. I understand it has crossed his mind and I heard he is really proud of where we are - the fact that a modestly sized Australian production company can be runner up in Palme D’Or this year (and was also runner up in 2018), against the might of the US and European/UK production companies- really is a thing for us down here. But with that said, I talk to my friends outside the business, and they don’t quite understand what all the industry self-congratulatory fuss is about - that’s quite grounding and fair enough too.
LBB> 25 years of Revolver is an enormous feat, how has the business changed, grown and developed? What does the future look like?
Michael> Honestly, the future for us is just to be better than we were last year and continue that each year. There’s another set of headwinds coming with the economy, AI, and further industry fragmentation, but all the more reason to truly focus on putting in 100% heart into doing the best possible work the world allows us to do.
