When Paul Schrader’s Auto Focus arrived in 2002, it provoked a bitter public split with Bob Crane’s surviving family. Scotty Crane, Bob’s son, launched a vociferous attack on the film’s accuracy, disputing key depictions — from the portrayal of Crane as a regular churchgoer to scenes implying S&M practices — and even accusing Schrader of inserting personal material into Crane’s story. The family had previously tried to control the narrative themselves: Scotty and his mother wrote their own spec script (circulated under titles like F‑Stop and Take Off Your Clothes and Smile) and drew industry notice, but once Auto Focus was announced Variety reported that interest in the family’s project evaporated. The episode became a small Hollywood morality play: an estranged family publicly disputing a biopic’s truth, a director defending creative choices, and a would‑be family-produced film sidelined by the larger studio‑adjacent project.
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