Mason made a few bits and pieces for Wieden & Kennedy and these caught the attention of RSA who added him to their expansive roster. This was followed by stints at Stink and Independent but the opportunities weren't really coming his way in the UK so he opted to take decisive action by pursuing projects in Ireland and Australia: "I wasn't getting the right work in London that I wanted and so I started refocusing on Ireland.
"I have a great relationship with a producer called Andrew Friedman in Dublin... he has a company called Antidote. The agencies are so great there, because they're much more intimate, and there's less of a corporate air... they give you more of a free rein there."
He describes how the close-knit Irish scene helps to foster a really collaborative approach: "They want an honest opinion when they send you a script, and they want to know what you think is good, and they're not upset if you identify problems.
"So you work together to create something very special. You'll go to get your coffee in the morning and you'll bump into the client or the account director or someone.
"If you get their trust, and you're prepared to cover what they want, then - if you're working with a great producer - you can engineer the shoot. By the time you're in the edit, I think 70% of the time they'll be like, 'Yeah, what you've shot is better. We'll go with that.' As long as you've covered yourself, I just think you can get away with a bit more."
He love the Australian can-do attitude: "I just shot a really nice spot, which we just finished. It was a decent one-day budget, but what we decided to do was actually reduce the crew to a really small crew, and just shoot at sunrise and sunset with a small crew, and split stretch the one-day budget to three days.
"They were open to it, and we managed to create something really beautiful because of the light... they were open to trying a different model, and not just sticking with the same old obvious way of doing things."