The Directors: Marysue Masson
Marysue Masson specialises in observed comedy performance, narrative and improv. She always brings a strong aesthetic to her spots and specialises at in-camera techniques and transitions. She’s written and directed for many ad agencies and TV networks including Comedy Central and The BBC (where she trained at Elstree Studios in performance direction).
Marysue was first known for her Haribo ‘Kids Voices’ campaign, coming up with the original concept, which she both wrote and shot. This was shortlisted at Cannes. The campaign has since gone global.
Other accolades include her comedy spot for 'FLO. PERIOD DRAMA' which won the Grand Prix £1m prize of the inaugural Sky Zero Footprint Fund. She’s recently won a whole clutch of awards from Cannes to D&AD with her ground breaking work for 'THE CHAT' all shot on iPhone. (The Chat is the UK’s first group messaging drama series, brought to life by an award-winning cast for Breast Cancer Now).
Her award winning short, ‘Who’s The Daddy’ has now landed a place on Disney+
Name: Marysue Masson
Location: London
Repped by/in: Johnny Foreigner London. Company Films L.A. Corner Content Toronto.
Awards
FLO PERIOD DRAMA Sky Grand Prix Winner - Zero Footprint brand and commercial
No more Period Drama's Sky Zero Footprint £1million Fund 2022
Who’s The Daddy’ Awards and selections.
Best Comedy. Harrogate Film Festival
Audience Winner. Tweetfest Film Festival
Finalist Canada Shorts Film Festival
Finalist JellyFest Film Festival Los Angeles
Winner. Dallas Women in Film judges comedy award
Special Mention London-Worldwide Comedy Short Festival
Bafta & Oscar Qualifiers
Official Selection 31st Galway Film Fleadh
Official Selection 39th Cambridge Film Festival
Official Selection St Bridgids Film Festival London
Breast Cancer Now – 'The Chat'
Creative Circle 2024 – Gold – Best Charity/Public Service Online (single) –
Creative Circle 2024 – Gold – Best Mobile Execution (single)
Creative Circle 2024 – Gold – Best Use of Mobile Medium (single)
Creative Circle 2024 – Gold – Best PR/Social to influence Positive Change (single)
D&AD 2024 – Wood Pencil – Digital & Social – Mobile – Breast Cancer Now – 'The Chat'
The One Show 2024 – Merit – Social Media – Use of Drama –
The One Show 2024 – Merit – Interactive, Online & Mobile.
The One Show 2024 – Merit – Branded Entertainment – Use of Media in Branded Entertainment.
Clio Awards 2024 – Silver – Social Media – Single Platform – Breast Cancer Now – 'The Chat'
Clio Awards 2024 – Bronze – Branded Entertainment & Content – Digital/Mobile
Clio Awards 2024 – Bronze – Digital/Mobile – Storytelling.
British Arrows 2024 – Bronze – Social Media – Breast Cancer Now – 'The Chat'
Cannes Lions 2023 – Silver – Mobile Lions – Breast Cancer Now – 'The Chat'
Cannes Lions 2023 – Bronze – PR Lions – Breast Cancer Now – 'The Chat'
Campaign Big Awards 2023 – Gold – Charity – Breast Cancer Now – 'The Chat'
Kinsale Sharks 2023 – Gold – Branded Content – Breast Cancer Now – 'The Chat'
Kinsale Sharks 2023 – Gold – Digital – Innovative Use of Technology
Kinsale Sharks 2023 – Gold – Ambient, Non-Traditional & PR.
LIAs 2023 – Silver – Digital – Mobile Advertising – Breast Cancer Now – 'The Chat'
LIAs 2023 – Silver – Digital – Social Media Platforms – Breast Cancer Now – 'The Chat'
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Marysue> I’m largely known as a comedy director, so the first thing I look for is the funny. However, if I’m presented a serious script with a strong idea, I’m in.
One of the most successful jobs I shot recently was for Breast Cancer Now. This was not funny, however, as soon as I heard the idea, I knew it was brilliant – The first ever group messaging drama series - All shot on iPhone, went on to win a raft of awards.
If I agree to write a treatment, a great script comes before a big budget (within reason). Of course, both is ideal!
LBB> How do you approach creating a treatment for a spot?
Marysue> Before I get into the 'how', I think about 'what' is the idea, and is there a way to elevate a concept further? If it’s a comedic spot, I look for an opportunity to punch up the funny, this might be visual, performative or a small tweak of dialogue.
Everything should flow from the central idea, from casting and performance to lens choice and shooting style. Producers often come to me as they know I also write, so when required, I also help craft dialogue with creatives who often find it helpful to get a fresh take on work.
Above all I avoid a cut and paste approach to treatments – I approach each one according to the concept. It’s not just about the look and feel, but a little beat here and there which can elevate the idea which makes a difference.
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?
Marysue> Yes of course it’s the most obvious thing to research the brand or product. If it’s a drink, drink it. Food? Eat it. If it’s an experience, experience it – and if not speak to others who have (this was one of the first things we were taught at Watford by with the late great Tony Cullingham).
It's incredibly important to listen to the agency and creatives who have been eating/sleeping/breathing that product everything that brand wants to be or say.
I recently shot a TVC for a villa company. I had to spend time in a seafront villa in Cyprus, which was tough. But there’s nothing I won’t do for the good of the film. (within reason)
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Marysue> I’m going to be annoying and not give a single answer. Making the best film is a team sport, with me as coach (a slightly ridiculous analogy given how utterly crap I am at sport).
First behind the camera, my working partnership with my DoP. I’ve built up strong working relationships with a small number of talented DP’s over the years, (who I bring on board according the job) we know each other’s ways of working which creates a kind of short hand between you which is essential when working to a tight schedule.
I’m collaborative, not dictatorial. I will discuss the look, feel and tone and share references I’m looking for. I always love to get DP’s suggestions for the best approach. Not just because this is their expertise, but I really believe the best work comes from collaboration. Where possible I try to bring them on board at treatment stage.
Then in front of the camera, I believe one of my strengths is working well with actors. I’ll always carve a little rehearsal time and they’ll know upfront where I’m looking for beats of improv. The actors I cast absolutely love this creative freedom, why wouldn’t we utilise their talent?
If necessary, I am protective of my actors. It’s not always easy for them having a squad of clients and agency dissecting their every move, so I make sure notes come through me. I strive to present them as simple objective notes which make sense! Relaxed and happy actors will give the strongest performance.
I had a situation where I was working with an (award winning) actor, who a had just had some bad news and was in a crisis of confidence. I asked everyone to leave us for a while, we went for a walk. I was able to put them at ease so they were able to do a great job.
I believe one of the most important aspects of being a good director is being good with people. I pride myself in running a happy positive set, from the clients to runners. I was once approached by a grip as we wrapped, a proper cockney geezer who said, ‘I like working with you love, you’re not a dick’. Something for the obit!
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?
Marysue> Comedy. I’ve filmed and written dramatic scripts and made a short thriller. But always come back to comedy.
I love finding those humorous little non-verbal expressions, a hint of a wink or the shadow of a smile can be killer funny in the right places. I love working with actors to find ways to punch up the funny (the client doesn’t always buy it, but I love to give options) I often collaborate with creatives, with aspects of dialogue, if I can offer up a comedy beat or turn of phrase.
After I cover the signed off boards, I always make space for Improv and cast actors I know who love to ad-lib. The spot I shot for OddBox is a good example, the final film was almost completely changed from the original script. We placed a box of random wonky veg in front of the talent and let them run with it. The result feels more authentic, spontaneous, so it is funny! (In this world of hungry social media agency and brands love the extra material shot this way too).
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Marysue> That I am a female director. I am a director (who happens to be female).
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Marysue> One day shoot for Kellogg’s. Exterior. The one day it pissed down. Possibly the heaviest downpour of 2024. We’re talking monsoon levels, the kind of rain that comes from every direction and bounces back up your trouser leg. This gave us the gift of Glastonbury-grade mud. Not one, but two cameras malfunctioned. We lost hours of our day, so I needed to think fast to cover the script with a few shots as possible.
I had to make compromises, but we got what was needed. Miraculously the client and agency were happy with the end-result. (Me, less so but I knew what it could have been).
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Marysue> This really depends on the client, but generally it can be counter-productive not to keep them in the loop. It’s a fine balance! Clients and agency need to feel heard.
As a writer, (I also started out as a creative myself) I understand how many hoops creatives had to jump through before that script lands in my inbox. Creatives have told me how they’d been told ‘get to the back of the set’. And while that might make things ‘easier’ for a director this isn’t fair. The script is their idea and they’ve handed it to me to take it from script to screen. Not just to take it.
I believe it’s important to be aligned and have fun creating the very best work we can. Creatives often like that, as director I can speak up for the work and it’s easier for me to push back when necessary.
I’ve learned that if clients don’t fully understand the process (why you’re covering a particular shot for example) things can get sticky. They’re marketeers not film makers. A lack of clarity can lead to nervous clients and a raft of unhelpful notes!
To avoid this, I like to briefly chat with clients before each set-up about what I’m doing and why. Then run 2/3 takes before coming back for notes. There’s nothing worse than notes coming through on the radio while you’re halfway through your first take! I find a quick chat upfront can help and it's also more time-efficient to all be aligned when there’s a lot to get through.
I think we all need to choose our battles. I’ll always offer up alternatives, to keep everyone happy. If I think I’m being pushed in a way that compromises the whole idea (and let’s face it, we’ve all been there). That will be the hill I’ll die on!
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?
Marysue> Absolutely. I make a point of bringing a young person on set on every shoot in the UK where I can. In particular, those who don’t have any contacts or other means to get into the business. I find most producers are helpful and happy to have an extra runner. I’ve also spoken at universities and media courses. I enjoy it and am always happy to help where I can.
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)?
Marysue> Most directors are used to filming for various aspect ratios. I approach this at story board stage and make sure I plan the shots to work, usually on large format. (Though effective coverage from 16x9 to 9x19 can be a right pain in the lens).
There’s more to it than just framing and re sizing – different platforms from Tik Tok to Instagram require editing styles and general tone to be effective. It can be challenging when we’re expected to push out extra content already squeezed schedules, ideally allowances are made for this.
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)?
Marysue> I’ve filmed jobs using CGI most notably a spot for Microsoft, shot in London, CGI created in Peru (nothing to do with a certain Mr P.Bear might I add) Why? This was the most cost- effective way to pull off such a time intensive job. AI will speed up post, reducing with amount of render machines needed for VFX. it can help rotoscoping, green screen and any labour-intensive jobs which are very costly. (Saying that I’ve heard reports of AI generated Roto being unusable, so still very much work in progress).
A lot more enquiries are coming in requesting directors to shoot in a VP studio. (A few of us at JF are going to a training day at ARRI’s VP stage) Again, VP Stages are a fantastic tool, for example for driving scenes, special effects or unaffordable or fantasy locations.
I use AI as a tool both visual and narrative. I would never use AI to ‘write’ creatively, however it’s brilliant as a research tool. More and more directors are using Midjourney for treatment visuals.
As we all know tech is changing a warp speed. But I think we’re a way off from AI replacing storytelling and directors. At the end of the day all AI can do is recycle and regurgitate existing content. I’m not worried about losing my job to bots quite yet… I believe true creativity is the last bastion.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Marysue> FLO PERIOD DRAMA.
Rarely do you get a script that makes you laugh out loud, but this was one that made me snort my tea, (thank you Bruce Crouch).
Nothing makes me happier than filming humour with a strong aesthetic. I particularly loved working with the art dept, wardrobe and HMU team on this. I was happy with the performances, after giving notes asking for less, or smaller. The trick was not to go too OTT, or ‘Black Adder’. The set up does so much heavy lifting I wanted the performances to be low key.
I think one of the funniest beats was the husband character’s response to his lady wife being a ‘bloody mess down there! This is a great example of non-verbal performance. I was so happy this won the client the Sky Zero Footprint £1million Fund.
ODDBOX.
This is a great example of improv. Working with comedy actors and a box of wonky veg. I love how this spot feels fun and spontaneous. Because it was. I also think the in-camera transitions work really well, they don’t overpower just heighten the excitement… all the way up the potato worship! (You might notice I’ve cast Dez Yankson more than once).
HARIBO RUGBY.
I created this campaign with Trev at Quiet Storm ten years ago although I haven’t filmed any in a while. I shot around 16 spots for the UK, Europe and the US. I think this one might be my favourite. The charm of these ads comes from the unscripted kids’ voices, a little girl thought Tangfastics tasted like ‘Fire, and a little bit of electricity’. You can’t write the stuff a five year old’s come up with.
PICK UP SCENE. Who’s The Daddy.
I really enjoyed filming this scene from my short, featuring Kellie Shirley and Cavan Clerkin. This is another example of how I work with my actors and improv. I asked Kellie to deliver the script allowing her various male pick-ups to respond with their own ad-lib. I loved how Kellie played it as though she was steadily more ‘inebriated’ throughout her performance. 'Who’s The Daddy' is currently running on Sky+
