Various The Work of Directors Mark Romanek, Anton Corbijn, Jonathan Glazer and Stéphane Sednaoui

The second series of Palm Pictures' Work of Directors series focuses on four new video helmers, and when it comes to big money, career-defining videos in the commercial sphere, no one beats Mark Romanek. He can make you not hate a horrible song (Michael and Janet's "Scream"); he made an icon out of Lenny Kravitz (performance stunner "Are You Going to Go My Way") and he provokes honest, choked-up emotion with Johnny Cash's "Hurt." He's a rare director that has a perfect sense of vision and song and how to capture an artist in fascinating, compelling ways. Dutch photographer Anton Corbijn is best known for providing signature photography for bands like U2. Early videos for David Sylvian, Echo and the Bunnymen and, particularly, Depeche Mode — there are five DM vids — establish his sensibility. The Nirvana video for "Heart Shaped Box" is his most successful outing; he shot the footage in colour, converted it to black and white, and hand-painted each frame. Brechtian influences abound; he's forever putting people on mini-stages within the larger, performance-oriented framework. Corbijn is definitely for mope-y music fans. Jonathan Glazer directs full-length features (Birth and Sexy Beast) now; in his early career, he pulled off a great practical trick with Jamiroquai's "Virtual Insanity," but mostly Glazer likes epic songs against spare, arresting images, like his brilliantly simple videos: the Verve's Richard Ashcroft with "A Song for the Lovers"; Radiohead's "Street Spirit" and UNKLE's "Rabbit In Your Headlights." His isn't the most extensive or diverse collection, but he gives good bang for his buck. The glossy, bright flash of video director Stéphane Sednaoui can be summed up by two vids that bookend his career: the career-making clip "Give It Away" for the Red Hot Chili Peppers and the spinning, flashing U2 video for "Discotheque." In between he helped Alanis talk to her three other selves in the well-constructed video for "Ironic." The Björk clip "Big Time Sensuality," in which she dances on the back of a flatbed truck driving through NYC, is clever and compelling but one wonders how much of that derives from Björk's infinite watchability? She provides the only interesting revelation out of a series of interviews — that she and Sednaoui dated, that "Possibly Maybe" was written about him, and that he directed the video after they'd separated. Plus: commentaries, short films, interviews and more. (Palm Pictures)