Mary is five feet and four inches tall.
Masterson made her feature film directorial debut with Cake Eaters. It premiered at the Tribeca Film Festival on April 2007.
Her other film credits include My Little Girl, Immediate Family, Mad at the Moon, The Last Party, Dogtown, and The Sisters.
Masterson holds the position as one of the Board of Directors of the Rainforest Alliance, an organization aimed ensuring sustainable livelihoods while conserving biodiversity.
She attended Dalton School and studied anthropology and film in New York University, both found in New York, New York.
Mary portrayed a former poet who was forced into a life of prostitution in the 2001 drama The Book of Stars.
Mary had always secretly dreamed of being a singer. She took lessons from a vocal coach, built her confidence, and mentioned her dreams to her management team, who were delighted. After hearing what a strong vocal presence she had, she was sent to audition for the Broadway play Nine. She eventually landed a role in the play.
Mary appeared on stage in the 2003 Broadway hit musical revival of Nine. She earned critical acclaim for her performance by earning a nomination for a Tony Award for "Best Actress".
Mary married George Carl Francisco on May 25, 1990. They divorced in 1992. She then married Damon Santostefano on May 20, 2000 and they divorced in 2004, citing irreconcilable differences. Mary married Jeremy Davidson in 2006.
Mary is looking to branch out to more behind-the-camera work, as a director. She is already an accomplished screenwriter, actor, and producer.
Mary would turn to television for good roles, when it seemed that the roles for women in film were lacking. She took on the role of an abused wife of a police detective who tries to flee from her spouse in the CBS thriller Black and Blue in 1999.
Mary's first significant on-screen line in The Stepford Wives was to her real life father, and it read "Daddy, I just saw a man carrying a naked lady".
Mary played the college sweetheart of a Vietnam-era soldier in Francis Ford Coppola's 1987 hit Gardens of Stone. Coppola hired her parents, Peter Masterson and Carlin Glynn to play her on-screen parents.
Mary decided at age 18 to follow in her parents' footsteps, and jumped back into her acting career. She started by playing a Cancer-stricken woman who beats the disease, only to become addicted to drugs, and give birth to a drug-addicted baby in the 1985 ABC movie Love Lives On.
Mary stopped working in the acting profession to concentrate on her education, squeezing in only a few television appearances. Such as the 1980 ABC television movie City of Fear, and the 1986 Robert Zemeckis-directed segment of Amazing Stories. City of Fear, which is her TV-movie debut, was executive-produced by her father.
Mary spent two summers at Robert Reford's Sundance Institute, making a performance tape while she was there led her to her first teenage film role. She took the role of a tomboy, in the Catholic school comedy Heaven Help Us in 1985.
Mary appeared on Broadway at 16 years old in Eva LeGallienne's version of Alice in Wonderland, taking on two parts. She played the Four of Hearts and the Small White Rabbit, as well as understudied the lead role of Alice, played by Kate Burton.
Mary attended a performing arts camp called Stagedoor Manor, and took drama lessons from Estelle Parsons to perfect her craft.
Mary made her film debut at nine years old in 1975's The Stepford Wives with her father.
Mary was born and raised in New York by her screenwriter, director and actor father Peter Masterson and Tony Award-winning actress, mother Carlin Glynn. She has a sister, actress Alexandra Masterson, and a brother, actor Peter Masterson. She is also the sister-in-law of producer Jennifer Tost.
Mary: I love the festival circuit because I feel that real movie fans go to the festivals and the audiences are just so intelligent and perceptive. It's great to be with people who really love movies and love to talk about them.
Mary: It's fun to be able to interact with audiences after a year of basically being in a dark room with the film, editing it and refining it. It is very satisfying to see the film with an audience and see that things you were hoping would "land" (a laugh, a tear) actually worked.
Mary: I learned from Francis Ford Coppola to treat the company like your family. And I learned from my father, although I didn't let him even see this movie before we locked. He's so smart. I just wanted his opinion afterward. He had some good criticism, like he said we needed more shooting, which I agreed with.
Mary: (on the films "Fried Green Tomatoes" and "Some Kind of Wonderful") I can say that there have not been many scripts that have such a strong female character as those two were, and I wish there were more of them to play.
Mary: (on growing up in a family who are in the entertainment industry) When you grow up with people who do this, you have no illusions about it. I don't see it as a glamorous kind of thing... I feel very privileged that I get to spend my life telling stories that mean something to people. They taught me that the greatest benefit is "going on the journey" and that's really rubbed off on me.
Mary: Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.
Mary Stuart Masterson: I don't read reviews, There's no value for me in reading them. Whether they're good or bad, they'll just make me self-conscious.
Mary: For awhile there, I was in danger of being typecast as the tomboy. Now, I don't mind playing the tomboy, it is a real part of my personality, but I don't want to be typecast as any ONE thing. Those molds are almost impossible to break, once set. I breathed a sigh of relief when At Close Range came around, and I got to show a feminine side.
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