Mireille Enos Quotes

I don't really like to work with actors that work a lot and are very well established already. In a way, I like to nurture talent and have it burst on the scene.

With 'Twilight,' I felt the actors needed to be up-and-coming artists that haven't been recognized yet.

The first time Adrian saw me was on tape. But you should know that this never works - never in the history of movies has someone been cast from a video.

I chose to deal with the underdogs on '1 Train.' I could've got the biggest superstars in the rap game, but why do that when you can let the young boys shine?

We are going back to our roots by cultivating new unsigned talent who otherwise might go unnoticed.

The point at which we worked with some of these actors, they weren't really stars yet. Nicolas Cage was not a big star when we did Raising Arizona. A lot of these people were also virtually unknown, too, when we worked with them first.

It's an interesting thing when you're casting a film - especially when you're trying to discover someone - you're waiting for someone to step into the room in an audition process and claim the role.

I think '205 Live' is the ultimate underdog story. This isn't a knock on any other brands; you have your stars on 'Raw,' you have your stars on 'SmackDown Live,' and I almost feel like NXT already has this amazing face to continue building stars, but '205 Live,' that is not the case. There is no foundation. We are not capitalizing off of stars.

There's definitely a lot of undiscovered talent in Africa. If I'm one of them and there's a few other guys in the league, that means that there must be some that are hidden.

It's always fun watching new actors and new voices come out.

Everyone wants to work with the big new producer or the hot new singer. The key is to find them before they're hot.

The freshest moments in my films have always been with unknown actors.

There are lots of people who haven't been to drama school who have great talent and can be discovered.

I don't know, I love it when I see movies with people who are not super familiar to me or people who I've seen in smaller parts who are suddenly getting a chance to do something bigger. For me that's very exciting.

The excitement for me lies not so much in interviewing the hard-to-get famous person, but the person whom you are about to discover. You know, like maybe the character actors who are just coming into their own and you're realizing how great they are.

I love working with the right actor, and if the right actor happens to be unknown, that should be allowed, too, I think.

I've been lucky enough to work in pop culture, especially with people right before they popped.

Even primitive areas can produce a superstar.

I'd like to be a scout, go watch the games, and try and find a diamond in the rough.

The music industry is changing. You only hear a sprinkling of big names, but there are a lot of really wonderful young musicians with great voices and lyrical content who have refined their sound. They're up in here, so don't think they're not. There's this wealth of talent below the surface that's ready to explode.

I loved the fact that Mitch Coleborn wasn't on my radar for 'Stranger than Fiction' until he sent 10 waves of himself to us. Then he went from unknown to having a great section in the movie.

I was the first studio executive to meet with Sean Penn after 'Taps' in 1981. I was anxious to develop things with him when nobody knew who he was.

Radha Krishna Sir, the director of 'Jil,' had seen 'Madras Cafe' and liked my acting in it. He wanted a performer and so got me on board.

There is so much talent! Now, we may not have at the moment that transcendent next-level 'Stone Cold' or The Rock, but I assure you, they're there.

When people talk about first-timers, I always think of Spike Lee. In every film he's made, he has A-listers, but he's always giving roles to first-time actors and breaking careers. He's brought such wonderful actors into the spotlight, and I love that.