The Directors: Henry Mason

Henry Mason is a prolific and multi-skilled director whose diverse body of work is characterized by stunningly photographed and emotive cinematic imagery, pitch-perfect authentic performances and a mischievous visual wit. 

From a young age he has had a passion for the Arts, first winning a scholarship to the prestigious Royal Ballet and then later to study music at the celebrated Wells Cathedral Music School. Upon graduation, a career in theatre beckoned that saw Henry directing critically acclaimed hit plays at the renowned Kings Head theatre. From there, a career as a film director was the logical next step. 

In the following decade, Henry has established himself as a much sought after commercial director whose work perfectly blends humanity, emotive storytelling and authentic performance in equal measure. He has helmed a vast array of films for global brands, including Nike, Pepsi and McDonalds. As a proud member of the LGBTQIA+ community Henry also brings a fresh and diverse perspective to all projects. 

Outside of advertising, Henry was recently commissioned to write a drama TV series by The Forge called ‘Knockalagh,’ a story of rural community in a time of modernity. He also wrote a horror-comedy feature screenplay called ‘Melting Point’ about Irish-Americans marrying in Ireland, with Jonathan Rhys Meyers attached. 

His short fiction novellas have won multiple accolades including the prestigious ‘Launch Pad Prose’ & ‘Screen Craft Cinematic Short Story’ competitions.

Name: Henry Mason

Location: London

Repped by/in: UK – Darling Films, Ireland - Antidote, USA – Hey Baby, Europe – Froelich Management, Australia – Brilliant Films

Awards: Shark Award, One Show…

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Henry> Scripts that weave an emotional narrative through convincing performances are what ignite my interest. Vignette films, which afford me the opportunity to create breath-taking visual moments, and action-filled scripts, especially those centred around athletics, excite me due to the challenge they present to conjure dynamic and riveting shots.

LBB> How do you approach creating a treatment for a spot?

Henry> My approach to creating a treatment is organic. I begin by brainstorming ideas on large A3 sheets, followed by establishing a 'dogma' that encapsulates the essence of the commercial. Every idea I conceive thereafter ties back to this dogma. I also make a habit of revisiting the initial call numerous times, ensuring that no detail or potential angle has been overlooked.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Henry> Understanding the genesis of the idea from the creatives is crucial to me. It enables me to comprehend the film's role within a broader campaign and how the brand is represented through the tone of the film.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Henry> The most pivotal relationship for me as a director is with the actors. I strive for authentic performances that resonate with the audience on an emotional level. To achieve this, it's imperative to construct characters that allow the performers to let go of self-consciousness, leading to performances brimming with spontaneity and authenticity.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Henry> I find myself particularly drawn to narrative commercials that balance charm, humour, and emotion. Ads that take the viewer on a journey, especially those that feature a twist or an emotionally charged moment at the end, are my favourite to work on.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Henry> The most common misconception about my work is that I specialise in documentary style filmmaking. I strive to make the audience believe what they are witnessing is real while shooting in a stylised, cinematic manner. Even when working with real people, my work is staged to feel deeply authentic.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Henry> While I haven't had the opportunity to work directly with a cost consultant, I am cognizant of their role in commercial production. I appreciate their significance in the process and hold them in high regard.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Henry> The wildest challenge I've faced involved floating an amphibious car in the Irish sea amidst the waves. We tackled this by casting the coast guard and fire brigade as the actors in the commercial.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Henry> My primary objective is to bring the agency creatives' idea to life using my skills and creativity. It involves sharing my best ideas, understanding their preferences, and discarding what isn't working for them. This balanced approach is the most effective way to protect the idea.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Henry> It makes me our ideas, our creativity, and our own personal development, stronger and more fulfilling when we surround ourselves with colleagues and friends from many different backgrounds. I’m always ready to mentor and introduce to my network, anyone with a hard work ethic and good spirit. 

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?

Henry> While the pandemic has indeed changed our work dynamics, I don’t want to give up cherished practices like in-person call backs and in-room editing. I find that human interaction fuels my creativity, and this is a habit I intend to preserve.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Henry> Given the multi-platform nature of campaigns today, it's essential to consider the wider campaign, keeping in mind that many social media assets will be produced from the film shoot. I view this as an exciting opportunity to tell stories across multiple formats and harmonise them.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Henry> I strive to stay abreast with new technologies and utilise them wherever applicable, particularly in pre-visualising live shoots. However, I believe that in an era of increasingly artificial video content, authentic human performance will be more sought after, emphasising the importance of nuanced human drama.

LBB> Which pieces of work do you feel really show off what you do best – and why? 

Henry> One of the works that best represents my style is the 'Supervalu Christmas' commercial. Shot six years ago, it continues to influence scripts I receive due to its heartfelt portrayal of the human spirit. Its charm lies in the insightful and truthful core of each vignette, making it nostalgic yet not overly sentimental.