Revolver’s Pip Smart Knows Innovation is the Answer to Risks Facing Production

In an increasingly strained market, there is an underlying fear that Pip Smart can’t shake: that agencies and clients will view production partners as expendable rather than vital collaborators.

To Pip, there is a “risk to the value of what [Revolver does].”

“In a difficult market and when people are afraid for their jobs, it's easy to get treated like the person changing the toner in the photocopier, rather than a creative partner,” the Revolver EP tells LBB.

“We can only do great work when we are trusted by clients and agencies. Great work doesn't have to cost a lot of money, but if it's not born out of true collaboration, it just never lands.”

Revolver and other production partners, Pip says, can only do great work when clients truly value their creative vision, not just as a cost but as a strategic partner.

“The last year or two have been tough, and I think we have another tough one ahead,” she admits. “But through hardship often comes innovation.”

With the industry changing rapidly and financial pressures mounting, Pip believes the path forward lies in creativity, innovation, and collaboration. It’s not about avoiding the storm — it’s about learning how to sail through it.

“When things are tough, that’s when the best ideas come … I’m interested and enthused about things evolving.”

After the excitement of two Grand Prix wins at Cannes in 2024, Pip quickly returned to the grindstone, knowing that producing innovative, classy work in an industry under increasing financial pressure isn’t getting any easier.

The company took out the Film Grand Prix for Hornbach’s ‘The Square Meter’, with Tony Petersen Film and HeimatTBWA Berlin, and the Film Grand Prix for ‘Play it Safe’, for the Sydney Opera House with The Monkeys.

Revolver also finished runner-up in the Palme d’Or – presented every year to the most awarded production company at Cannes Lions.

Those trophies for ‘Play it Safe’ and ‘The Square Meter’  weren’t just a victory for the company — they were recognition of years of creative dedication. Recently, ‘Play it Safe’ also became the first-ever Australian project to receive an Immortal Award, one of just four pieces of work to receive the honour this year.

“It was a deeply personal achievement,” says Pip, “working so closely with the team felt like a reflection of my commitment to the industry.”

“It was obviously great to win, but also really lovely to be congratulated and supported by so many of our peers all around the world.

“I put an enormous amount into ‘Play it Safe’ [for the Sydney Opera House] on a personal level as well, producing it on the ground with [director] Kim Gehrig.

“I’m not on the tools producing that often anymore, but I worked so closely every day with all the contributors, so that felt like a personal achievement as well as one for the company and the Australian industry.”

However, success in Cannes didn’t mean a break from the relentless pressure of the industry. The intense balancing act between creativity and business continues to weigh on Pip and her team, with the risk of burnout always looming.

“The job doesn’t pause,” Pip says. “Even when you’re on stage accepting awards, the demands don’t stop. There is constant and ongoing pressure to keep performing, keep doing better work and keep everyone turning over.

“The good and the bad always go hand and hand in this job.”