

A documentary filmmaker who turned his lens on the abrasive, influential underbelly of New York's art-punk scene across generations.
Scott Crary entered filmmaking with a specific, noisy curiosity. His defining work, 'Kill Your Idols,' is less a traditional documentary and more a provocative conversation between eras of New York's underground music. Released in 2004, Crary didn't just interview bands; he juxtaposed the confrontational giants of the late 1970s, like Suicide and Lydia Lunch, with the millennial inheritors of their dissonant throne, such as Yeah Yeah Yeahs and Liars. The film's tension—fueled by purist disdain from the old guard and defiant ambition from the new—captured the eternal cycle of artistic rebellion. Crary's hands-on approach, serving as director, producer, cinematographer, and editor, gave the project a cohesive, gritty personality. While not a prolific mainstream director, his film remains a vital cultural artifact, a time capsule that questions the very nature of influence and authenticity in alternative art.
1965–1980
The latchkey kids. Raised during divorce, recession, and the end of the Cold War. Skeptical, self-reliant, media-literate. They invented indie culture, grunge, and the early internet — then watched the Boomers take credit.
Scott was born in 1978, placing them squarely in the Generation X. The events that shaped this generation — economic uncertainty, the end of the Cold War, and the rise of personal computing — shaped the world they entered and the choices available to them.
The biggest hits of 1978
#1 Movie
Grease
Best Picture
The Deer Hunter
#1 TV Show
Laverne & Shirley
The world at every milestone
First test-tube baby born
Internet adopts TCP/IP, creating the modern internet
Soviet Union dissolves; World Wide Web goes public
Nelson Mandela elected president of South Africa
Dolly the sheep cloned
Columbine shooting; Y2K panic builds
Barack Obama elected first Black US president; financial crisis
Royal wedding of Harry and Meghan; Parkland shooting
'Kill Your Idols' takes its title from a song by the no wave band Sonic Youth.
He is a graduate of the University of Southern California's School of Cinematic Arts.
The film includes a famously tense interview where artist Lydia Lunch walks out.
“I wanted to film the sound of a scene tearing itself apart.”