Casting director Francine Maisler has long been a trusted creative partner for some of today’s most distinctive filmmakers. Her collaborations span projects with Alejandro González Iñárritu, Denis Villeneuve and Ryan Coogler, including their work together on Creed.
She reunites with Coogler for his latest film, Sinners, a period drama set in 1932 Mississippi, starring Michael B. Jordan in dual roles of twin brothers, Smoke and Stack, who return to their hometown after being gone several years. Together with their musician cousin Sammie (Miles Caton), they open a juke joint, but are confronted by a supernatural evil.
Maisler spoke with Casting Networks about the international search for Sammie, how Jack O’Connell almost had to bow out of the film, and the joys of working with a filmmaker multiple times.
Key Insights
- Maisler and Coogler conducted a global search that went beyond actors and into the blues/music world, proving authenticity was the priority for the role of Sammie.
- Ryan Coogler’s unwavering commitment to casting choices — like holding out for Jack O’Connell despite visa delays — demonstrates his belief in talent and creative intuition.
- Long-standing relationships between directors and casting directors foster trust and collaboration, allowing deeper creative risks and richer performances.
You previously worked with Ryan Coogler on Creed in 2015. How did you come back together for Sinners?
Ryan called me to come on board a movie, but it wasn’t written yet. He said it was a very personal story and very important to him, and would I help him with a search for a young man who could play guitar and sing the blues? That’s how it started.
Did you cast a wide net to find him?
The search for Sammie was really worldwide. In addition to all the traditional casting avenues, we went to music schools, colleges, blues clubs in the South, New York, Chicago. There was a ton of outreach to find him. We put out breakdowns in London, and anywhere we thought there could be someone who could play an American. We got lots of self tapes.
What was it about Miles that sealed the deal?
There were a lot of wonderful young actors and non-actors who read for the part. Miles had never acted before. He was the opening act for H.E.R. (in 2022), so you can see how far and wide we looked beyond the acting community. Somewhere in the process, Miles’ tape came in. He did it in a very dark room. I think he was 18. You heard a voice come out of him that took your breath away. You also got a sense of how authentic and soulful he was.
What were the next steps?
We flew Miles out to read with Michael B. and to work with Ryan. I remember thinking, well, here’s a young Ryan. They’re both so soulful, so truthful in the moment. I really do believe with Miles I was seeing a young Ryan at 19. They may not be [in] the same [profession], but you understand the truthfulness in both of them.
What happened in the room when the three of them came together?
He read with Michael and there wasn’t a false move, even though Miles had never done this before. I had him improvise with Michael, and Ryan gave direction, and then we had him sing. I’m not a very religious person, but when Miles opened his mouth, I thought there’s got to be something upstairs that gives us this voice that comes through this young man. It felt otherworldly and beautiful, and it touched me deeply.
You also needed to find the older version of Sammie. How did Buddy Guy come into the picture?
Ryan was a fan of Buddy Guy. Someone in his family was his biggest fan — maybe his uncle or his mother. Ryan said it would be a dream to get Buddy in the film. We flew to Chicago, went to Buddy’s bar, and then hung out with this legend. Then we read him. And because it mattered so much to Ryan to have Buddy in this movie, he made it work and come together.
What was the process of casting Jack O’Connell for Irish immigrant vampire Remmick?
Jack O’Connell was someone that we discussed for that role early on in the process. I had worked with Jack on Unbroken, and just love him. He was having difficulty getting a visa in time, so we started thinking of other actors. But if not for Ryan, it never would’ve been Jack. Ryan held out until three weeks before production. That is highly unusual to wait that long to see if somebody’s going to get their visa or not. I’ve worked on a movie where we were six, seven weeks out, and we had to move on. Ryan’s conviction about Jack doing this, and his belief that we would get him … he didn’t compromise.
There’s a real depth and emotional charge in the ensemble. What do you think shaped that?
I think there were uniformly incredible performances in this movie. Ryan brings out the best in people. He really sees the actors. For example, I’ve been a big fan of Jayme Lawson. She’s done some small parts, and bigger parts, but she auditioned for this (as Sammie’s love interest) and later told me it was the first time a director had really seen her, and saw all she could do. Ryan brought out the sensuality in her. She was incredible in this movie.
I don’t think we’ve ever seen Hailee Steinfeld (Stack’s girlfriend) in such an adult role either!
Hailee has been acting since she was a child. Then she became a woman and no one had seen that side of her except with her singing. She came in and auditioned and she just wowed the room.
Omar Benson Miller has also been acting for a long time, but his role as the doorman of the juke joint turns into something way more than what the audience was expecting.
I can’t tell you the number of people that tell me how much they love him in this movie. Ryan brought out the best in everyone. They were so devoted to him. It’s like he gives them the wings to fly. I can’t say enough about working with Ryan or the film.
Were there any performances that stayed with you personally?
Wunmi Mosaku (Smoke’s estranged wife) is just incredible. I’m doing another film now with Aaron Sorkin, and I told him, “You have to hire her. You have no other choice.” I’ve been lucky to work on a lot of projects, so I have that wealth of information to be able to say, “You’ve got to see this person.” All the work I do informs the next project.
You’ve also worked on a lot of projects with the same filmmakers multiple times.
I’ve been very fortunate to have amazing directors want to work with me time and time again, (this year alone) from Scott Cooper (Springsteen: Deliver Me From Nowhere) to James L. Brooks (Ella McCay) to Edgar Wright (The Running Man) to Paul Greengrass (The Lost Bus). You go through a lot during the casting process. I become great friends with most of my directors. I’m able to argue with them a bit more and don’t have to be so worried. They know me. It truly is a collaboration between the filmmaker and the casting director. When the creative process works, there’s nothing better.
Key Takeaways
- Raw talent and emotional truth can outweigh traditional acting experience in landing major roles.
- Great directing includes championing actors and trusting the casting process, even under production pressure.
- Strong creative partnerships help casting directors advocate boldly for performers and shape powerful ensembles.
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