RTS Craft & Design Awards 2020
Watch the RTS Craft & Design Awards 2020, supported by Netflix, below:
Casting Award: Yoko Narahashi, Shaheen Baig & Layla Merrick-Wolf
Costume Design - Drama: Lynsey Moore
Costume Design - Entertainment & Non Drama: Tim Simpson, Derek McLean, Daniel Nettleton & Claire Horton
Design - Programme Content Sequences: Made in Colour
Design - Titles: Titles Team
Director - Comedy Drama/Situation Comedy: Ella Jones
Director - Documentary/Factual & Non Drama: Waad al-Kateab & Edward Watts
Director - Drama: Lenny Abrahamson
Director - Multicamera: Bridget Caldwell
Editing - Documentary/Factual: Abraham Teweldebrhan, Nic Zimmermann & Gareth Williams
Editing - Drama: Pia Di Ciaula
Editing - Entertainment and Comedy: Dan Gage
Editing - Sport: Joe Snell, Kevin Evans & Paul Roberts
Effects: Framestore, Russell Dodgson, Dan May & Danny Hargreaves
Lighting for Multicamera: Nigel Catmur
Make Up Design - Drama: Shabana Latif & Avan Contractor
Make Up Design - Entertainment & Non Drama: Sheldon Wade
Multicamera Work: Suri Krishnamma & Camera Team
Multicamera Work - Sport: IGBS Camera Team
Music - Original Score: Nainita Desai
Music - Original Title: H. Scott Salinas
Photography - Documentary/Factual & Non Drama: Olivier Sarbil
Photography - Drama & Comedy: Suzie Lavelle
Picture Enhancement: Adam Dolniak
Production Design - Drama: Joel Collins
Production Design - Entertainment & Non Drama: Dennis De Groot
Sound - Drama: Howard Bargroff, Tim Barker, Steve Browell & Marc Specter
Sound - Entertainment & Non Drama: Nick Fry, Mick Duffield & James Evans
RTS Special Award: Michaela Coel
I May Destroy You, the series that unpacked a breath-taking exploration of sexual assault, race, and millennial life over twelve stunning episodes. This year’s RTS Special Award is presented to the show’s creator, writer and co-director, Michaela Coel.
Just four years ago Michaela Coel won the Breakthrough Award at the RTS Programme Awards for her work on her ground-breaking Channel 4 series Chewing Gum. In the short time since then she’s established herself as perhaps Britain’s most exciting up-and-coming writer, producer, director and actor. In creating I May Destroy You she drew on her own personal experience of sexual assault, giving the story’s lead character Arabella a deep hinterland of complexity. Arabella navigates a bewildering world of social media addiction, recreational drug use, generational conflict, cultural misunderstanding and the seemingly shifting boundaries around sexual consent. In writing I May Destroy You Michaela wrote almost two hundred drafts, exhausting herself into a virtually trance-like state in the process, the intensity of the task almost overwhelming at times. In co-directing I May Destroy You she developed a style unique to this show - an immediacy and vitality that put the viewer right into the chaos of Arabella’s life. And by starring as Arabella in I May Destroy You, Michaela Coel showed us again that she’s an actor whose incredible potential is still revealing itself with each new project.
In presenting the Special Award to Michaela Coel, the judges said – “This piece sits in the true spirit of the Craft and Design Awards. The astonishing level of detail in all aspects of this production was humbling to see. A truly distinctive, highly creative and exemplary piece of work, in which the winner had also corralled outstanding demonstrations of expert craft skills across all the production disciplines.”
Outstanding Achievement Award: Nina Gold
This year’s Award for an Outstanding Achievement in British Television is presented to a professional one newspaper recently called “the most influential casting director working today”. With almost two hundred screen casting credits to her name, the list of her television work reads like a directory of award-winning drama – Game of Thrones, The Crown, Patrick Melrose, Chernobyl, Top of the Lake, Harlots, Daniel Deronda, Tipping The Velvet, The Life and Death of Peter Sellers, Secret State, John Adams, Wolf Hall…the list goes on and on.
Nina’s casting journey began while she was still at university, working on student productions. Then, one day in the mid-Eighties, she helped a friend out by casting extras in an AC/DC music video. And so it began. One pop video led to another, and before long Nina was also casting television commercials. In 1992 she cast a McDonalds ad directed by Mike Leigh. He spotted her obvious flair, and later in the decade asked Nina to cast her first feature film, Topsy Turvy. Her subsequent work in cinema has gone on to cover the range of movie making from Hollywood blockbusters like Star Wars, Jurassic World and Mamma Mia, to modestly budgeted British films like Sunshine on Leith.
On television, Nina’s skills in the nuanced alchemy of casting have created a generation of stars who are now familiar faces but were given their early breaks by her. Every year she scours drama schools and acting workshops in her relentless search for new talent. She’s acknowledged to have the best antennae in the business, but she combines this with a gift for surprise - she often casts unexpected actors into roles that they then somehow end up appearing born to play. Nina’s a risk taker, but one with exceptional judgment and great taste. The writer and showrunner of The Crown, Peter Morgan said, “She’s like a benevolent pickpocket. You walk in to meet her with a pocketful of what you think are brilliant casting ideas. By the time you leave, you’ve none of those ideas anymore, but your pockets have been filled with others, which you then find out are all inevitably better.”
The truth is that when casting is done really well, the audience don’t notice. It becomes invisible. It’s only when it’s done badly that it becomes conspicuous, when someone’s uttered those deadly words, “They’ll do”. But that’s never been Nina’s way. She never settles for second best, never compromises in her mission to find the right actor for the role. Her unwavering respect for actors, her perceptive understanding of what kind of actor the text might need, the way she forges deep bonds with directors, producers and agents – these are the qualities Nina brings to her work. More than anything, she cares profoundly about the difference that casting can make to a production. During her thirty years in the business, she’s raised the game of casting in British television…setting a new standard. The Gold Standard. By any measure, an outstanding achievement.