Auto Focus — Paul Schrader, 2002 Following Bob Crane's descent into sex addiction and depression, Auto Focus demanded a visual language that could chart the arc of a life unraveling across four decades. Production designer James Chinlund employed the visual vocabulary of the Playboy centerfold as a design framework — beginning in the relatively optimistic palette of the 1950s, its Technicolor brightness and puritan sensibility giving way to the progressively more sensual, deeper tones of the 1960s, the amber cast and autumn warmth of the 1970s, and finally the raw, desaturated colors of the 1980s. One hundred and thirty-three period sets shot in thirty-three days — Chinlund's largest film to that point and his first work in Los Angeles.