While “You Can See Everything” is stirring up considerable buzz as the latest must-see film, co-director Lance Oppenheim revealed that his fellow director Nathan Fielder initially harbored doubts about capturing a fresh narrative. This skepticism led Fielder to negotiate a “kill switch” with A24 prior to filming beginning.
During an interview with IndieWire, Oppenheim elaborated on how this provision proved beneficial for the film. Fielder was eager to collaborate, yet he expressed concern that the narrative surrounding Elizabeth Holmes had already been extensively covered. Before production even commenced, the story had featured in numerous media formats, including popular podcasts, bestselling novels, a documentary by Alex Gibney, and the Hulu series “The Dropout.”
Oppenheim recounted Fielder’s proposal to A24, stating, “Nathan suggested to A24, ‘If Lance and I were to look into this story, would you be open to financing us while allowing a clause that we could back out at any time if nothing significant emerged? If we didn’t find anything, we could discard it altogether.’ Thankfully, they agreed.”
Oppenheim explained that securing the “kill switch” fundamentally shifted their approach. As the clock was ticking with just 34 days left before Holmes was due to begin her prison sentence, Fielder’s anxieties about the documentary’s direction became more pronounced. The provision allowed for creative freedom, which Oppenheim appreciated.
“This was the first time I felt that we had the freedom to explore the subject matter without the pressure of oversight,” Oppenheim remarked. “I wish every project could offer that kind of creative space. It really allows for a genuine sense of discovery as you dive into the narrative.”
In a separate conversation with Wired Magazine, Fielder shared the rationale behind requesting such a provision in their agreement.
“I explained to A24, ‘I don’t yet have a clear angle, but there’s an intriguing idea forming in my mind,’” he reflected. “With Holmes on the verge of serving her time, we were unsure about what might unfold. I suggested that we could start recording and see what developed, but we needed the option to walk away if it didn’t pan out. They were agreeable to that.”
Fielder elaborated, “This arrangement allowed me to be open and candid, both with Holmes and within the production team. The pressure involved in filmmaking can be immense. If we had to halt production because it wasn’t working, that would be a relief in itself. Working in that kind of relaxed environment was invaluable. Lance and I concluded, ‘At the very least, this will be an intriguing experience that we can write about afterwards.’”
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Nathan Fielder Negotiated a ‘Kill Switch’ on ‘You Can See Everything’
