"You're not necessarily king on set for videos," adds Meyers contrasting commercial and music video shoots. "An artist can usurp your kingdom, make you humble and take your video in an entirely different direction."

At 28, the director has mastered the art of image-making, collaborating with rap and hip-hop moguls, pop divas and boy bands to produce a résumé that reads like an all-star line-up at an awards ceremony. Meyers' videos for N'SYNC, Britney Spears, Kid Rock, Creed, Jay-Z, Outkast, Xzibit and Pink enjoy heavy rotation, rendering him, in the words of one agency producer, "the belle of MTV."

Meyers' talent for articulating a message across cultural and musical genres is a by-product of his Berkeley, California upbringing. "It's a very diverse town and I didn't really grow up with the same categorizations as the rest of the world," says Meyers. "Everyone was thrown together and that's the way it was. It was a beautiful way to start off life and Loyola Marymount was quite the opposite experience for me. It was nothing but categories, stereotypes and presumptions."

"The atmosphere [at film school] was an environment that nurtured my strength to fight because I didn't naturally fit in to that categorical frame of mind," elaborates Meyers. "The battles I fought in film school helped ripen me for the battles ahead."

Fresh out of film school, Meyers positioned himself with a non-profit organization called IFP where he developed an appreciation for independent films as well as the art of networking. "I learned the importance of relationships," says Meyers mentioning sponsors Kodak and Photocam. "Suddenly things are free instead of discounted."

Meyers began working with rap artist Master P with whom he shot Foolish, a feature released in 1999 through Artisan Entertainment. However, it was the collaboration with newcomer Kid Rock on "Bawitdaba" that would catapult the director into MTV Buzzworthy territory.

"Basically Kid Rock's ascent was my ascent," comments Meyers recognizing the power of the cable station's play list. "When they pick their favorites they blow 'em up. Kid Rock was nobody and MTV made him. Before I shot the video they told me that MTV was going to blow this guy up like he was the chosen one."

The same can be said for Outkast's "Bombs Over Baghdad." "I never heard the song [make radio] play in Los Angeles and thought it had failed," admits Meyers. "MTV supported the artist and the vision and blew it up."

As important as understanding diversity in the video-making process is the ability to listen. Meyers listens to the artist's perspective and images accordingly:

"I've walked into situations where a rock video is referencing shit I don't even know about. I survive those videos the same way I survive a rap video and that's by listening. If you listen to what they say they're basically giving you the pathway."

Anxious to tap the youth and urban markets, advertisers awarded Meyers his first campaign during the actors' strike featuring the singing canister of Pringles potato chips. More recently, he shot Twix commercials "Remote Control" and "Headspin" out of Grey Worldwide in New York.

"In as much as Snickers is the chocolate bar of the sporting world, the endeavor is to make Twix the chocolate bar of the music industry," comments Grey senior VP and producer John Higgins. "In 'Remote Control,' Dream and Little Bow Wow are in this funky cable access polka band. The spot opens up with what looks like one of Dave's music videos and then cuts to the cable access program. We want to leave the viewer with the impression that the TV is changing channels on them."

Both spots were choreographed by MTV's Tina Landan. Landan appears as an Indian rave dancer in "Headspin" along with tapper Savion Glover and a couple of Swing dancers from the Broadway cast.

Meyers, who insisted on working with FM Rocks producer Ron Mohrhoff and DP Karsten Gopinov, is still marveling at the commercial efficacy that often eludes celebrity rockers on high-end video shoots:

"The main thing I'd like to bring to commercials is no drama for the agencies. The way commercials are structured is so protective. Your ass is on the line in a whole different way. It's a lot easier to handle and it's a lot more professional."