One of the misconceptions that casting directors frequently run into is that their job is simply to present a list of big-name actors to a director. The reality, especially for a veteran like Francine Maisler, is far more complex. This year, Maisler is nominated for the first Best Casting Oscar for her work on “Sinners,” and her recent projects include “Ella McCay,” “The Lost Bus,” “Springsteen: Deliver Me from Nowhere,” and several others.
The work of casting, according to Maisler, is a combination of relentless curiosity, exploration of new talent pools, and creatively envisioning what actors are capable of. It requires a close collaboration with the director, understanding their vision beyond the script. And, as she readily admits, a fair amount of late-night texting.
“We’re texting around the clock,” Maisler told IndieWire. “[‘Sinners’ director Ryan Coogler] and I used to have such a good time just thinking—and we’re probably going to start a new project. But for, say, the role of Sammy’s father, we’d be like, ‘What can we do?’ And one night I said to him, ‘What can we do that maybe we haven’t thought of before, or something different? What about a spoken word poet?’”
That question led to the casting of Saul Williams as the preacher father of Sammy (Miles Caton) in “Sinners.” The search for Caton itself was extensive, taking Maisler and her team to Blues clubs and colleges across the country. The process highlights a key aspect of Maisler’s approach: seeking out performers who haven’t necessarily had the opportunity to showcase their full range.
“Even when you’re casting a name, a lot of those names aren’t available, and then sometimes the director has a different idea of what they’re looking for to fill out that canvas that they’re painting,” Maisler explained. “We cast everywhere. We look everywhere. We work even harder [since the pandemic] because we can be watching things, you know, when I can’t sleep at midnight.”
This search for the unexpected extends beyond simply assembling a diverse cast. It’s about finding actors with the skillsets to bring nuance and depth to their roles. Maisler emphasized the importance of allowing actors to explore different facets of their talent. “My job is to know each of these actors and what is still waiting for them, how to show everyone their talent,” she said. “You know, Jayme Lawson [who plays Pearline] had been cast a few times before, but who the hell knew she could sing and dance like that and she’s just — she’s fierce in this movie.”
She also highlighted the performances of Delroy Lindo (Delta Slim), Hailee Steinfeld (Mary), and Yao (Bo Chow), noting that each actor brought a unique energy to their roles. Lola Kirk, a New York actress, is also experiencing a career boost, transitioning into a Nashville singer thanks to her role in the film.
Maisler’s success isn’t solely about identifying talent; it’s about creating an environment where actors can thrive. She sees her role as setting actors up for success—providing them with the information they need, preparing them for a director’s style, and fostering the confidence to bring their own experiences to the role.
In the case of “Sinners,” Maisler credits Coogler with creating a safe and supportive atmosphere. “I think Ryan, in meeting and casting each person, really spoke to them and saw them and allowed them to feel safe in the best possible way—so that they could take chances. They knew he’d catch them if they fell,” she said.
Maisler’s career has spanned decades and collaborations with a remarkable roster of filmmakers, including Alejandro González Iñárritu, Denis Villeneuve, Greta Gerwig, Steve McQueen, Michael Mann, Gus Van Sant, and Sam Raimi. She recalls studying the films of James L. Brooks and Terrence Malick early in her career, learning from their approaches to storytelling and character development. Now, she’s had the opportunity to work with both of them.
“I’m just so fortunate to get to even say that I not only work with Terry Malick, but know him personally—those are words I didn’t think would come out of my mouth, you know? Or the great Miloš Forman. I mean, my God,” Maisler said. “I learned from each of them.”
Maisler finds the most rewarding aspect of her work to be the continuous learning process. “At this point in my career, I just want to learn—whether it be from the subject of the movie or from a director. That’s the most exciting part for me,” she said. “It’s really creatively satisfying.”
