Staying Rooted in the Heart of the Story with Mae Mann

Mae Mann is a director and writer from the American South, now based in Brooklyn. She grew up queer in a place where much was left unsaid. Her work carries that quietness – intimate, character-driven films that look closely at identity, family, and the moments that stay with us.

Her films have screened internationally and have been recognised with a Gold 1.4 Award, a Silver Young Director Award, two Red Dot Design Awards, and a shortlist from PhotoVogue's WomenbyWomen.

Mae is currently developing her debut feature, ‘December’ – a tender, winter-set portrait of a Southern teenager coming to terms with her queerness, her father’s expectations, and the cost of choosing herself.

Mae sat down with LBB to discuss the release of ‘December’, looking for the heartbeat in a script , and why diverse sets make for stronger films.

Name: Mae Mann

Location: Brooklyn, NY

Repped by/in: Laird and Good Company

Awards: Gold 1.4 Award, Silver Young Director Award, two Red Dot Design Awards, PhotoVogue Women by Women Shortlist

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Mae> I’m working on a series of portraits titled ‘Fragments’, quiet observational films that sit with people in the small worlds they build for themselves. The first piece, ‘Camden’, was shortlisted by PhotoVogue and became the heartbeat of the project. I’m in the early stages of shaping the next portraits, following that same sense of intimacy and attention to everyday ritual.

I’m also shaping ‘December’, my first feature, about a queer teenager in the American South. It’s a film about tenderness, fear, and the quiet moments that end up changing us. For better or worse.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Mae> There’s a real return to intimacy. Brands are embracing work that feels honest and human, where the emotional temperature matters as much as the visuals. That balance of elevated craft and grounded truth is where I feel most at home.

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

Mae> Emotional clarity. If I can sense a heartbeat in the writing, even a faint one, I’m in. I’m drawn to scripts that leave space for the small, lived in details that make a piece feel real.

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

Mae> I start with the tone. If I can define the feeling of the piece, everything else builds around it. I think in rhythm and texture first, then translate those instincts into visuals that help the agency and brand see the film the way I feel it.

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?

Mae> Research is essential. I approach with curiosity – I dig into their history, tone, audience, and the cultural space they speak to. Not to imitate them, but to understand the world they occupy so I can tell a truthful story inside it.

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

Mae> Filmmaking is deeply collaborative, but the two relationships that shape everything for me are with the talent and the DP. One holds the emotional truth, the other translates it into an image. When both of those connections are strong, the work deepens.

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?

Mae> I’m drawn to intimate, character-centred stories, especially the ones rarely seen on screen. As a queer woman from the South, representation is personal to me. I want audiences to see themselves fully, with all the quiet nuance intact.

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

Mae> That because it’s quiet, it must be loose or improvised. In reality, my work is intentional.

Stillness takes planning. Silence takes craft.

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

Mae> I haven't yet, but I understand their role. I do have experience stretching tight budgets and advocating for the line items that protect both the work and the crew. Ultimately, it’s a balancing act between what the client can offer and what we, as a team, can give.

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

Mae> Weather. I shoot outside often, and entire days have been washed away by unexpected storms. When that happens, I strip the scene back to its core and ask what truly matters.

Often the one shot that carries the emotional truth is stronger than the five we planned.

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

Mae> I stay rooted in the heart of the story. I welcome notes and love shaping something together, but I’m clear about what keeps the emotional spine intact. It’s never about ego. It’s about care.

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?

Mae> I’m a queer woman born and raised in the South - my life and work are shaped by community, by chosen family, by the people who made space for me when the industry didn’t. We need more diversity, not as a trend but as the foundation of better storytelling. I love mentoring and creating space for others, because someone’s first real shot can change the course of their life.

Diverse sets make stronger films. It really is that simple.

LBB> Your work is now presented in so many different formats – to what extent do you keep each in mind while you're working?

Mae> I honour the main frame first, then make sure the work can live in vertical or mobile formats without losing its emotional impact. Format is the container, not the story.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Mae> I’m curious about technology when it expands what is emotionally possible. Tools that help me visualise or plan or build atmosphere can be exciting.

But when it comes to generative AI, I feel similarly to Guillermo del Toro. If it replaces the human core of filmmaking, I want no part of it. Tech should support authenticity, not erase it.

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

Mae> ‘Camden’

A quiet, lyrical portrait that reflects my love of intimate, observational storytelling.

‘LOVE, NOTO’

A soft, expressive brand film that centres the quiet confidence of queer beauty.

‘Webex Goes to Space’

A larger-scale project that balances imagination with emotional clarity.

‘I Worried’

A small film inspired by Mary Oliver that shows my pacing, restraint, and poetic sensibility.