The viewing experience of the documentary You Can See Everything was designed to unsettle, yet the specific, full-frontal shot of Elizabeth Holmes’ partner, Billy Evans, remains a detail few in the audience anticipated. Director Lance Oppenheim, who co-directed the acclaimed film with Nathan Fielder, has since shed light on the origins of this intensely private moment. He explained the technical nature of the scene, detailing the array of cameras used to capture the footage.
The news surrounding the doc involves Oppenheim explaining the creation of the notorious shower sequence and why Evans was seemingly comfortable with the level of exposure. The film itself offers an unhinged look at the Theranos founder, focusing on the period leading up to her conviction for defrauding investors. This conversation sheds light on the boundary-pushing nature of the documentary, which was quietly developed over a period of more than three years.
The surprising origin of the shower scene
Oppenheim recounted the conversation that led to the scene, recalling a moment in the car after leaving the gym. He explained that he had initially offered to film Evans in a way that would intentionally conceal certain parts of his body. However, Evans reportedly dismissed this concern, stating that he “didn’t care about being seen naked.”
The director detailed the intricate setup required to achieve the shot, listing the multiple camera angles utilized during the filming process. These included a camera inside the bathroom, another positioned on Nathan Fielder, and a third placed outside the premises. He also mentioned an interaction that occurred after Evans left, where the subject looked directly at the camera and smiled.
Why Evans was willing to reveal everything
When asked about Evans’ willingness to appear nude for the interview, Oppenheim admitted that the motivation remained unclear to him personally. He acknowledged that people have developed various interesting theories regarding the significance of the voluntary exposure. Oppenheim noted that while he found the agreement baffling, he felt the content suggested a kind of full access, giving the impression that Evans was excited by the unrestricted viewing.
Adding to the background, Evans had previously admitted that he had not seen the documentary when appearing on the All-In podcast. On that occasion, he made a somewhat self-deprecating remark, suggesting that he might think the entire ordeal was the “dumbest thing I have ever done,” while also commenting on how dramatic Holmes looked in the trailer.
The commercial and critical impact
The film debuted in cinemas on October 16th and immediately proved to be a financial success for the creators. It generated significant revenue, bringing in $15.6 million from its opening weekend across 855 theaters. Furthermore, its performance continued to climb, adding an additional $19.5 million after expanding its reach to 2,655 venues for its second outing.
Beyond its box office success, You Can See Everything has received considerable industry attention. It is eligible for best documentary feature at the 99th Academy Awards, and the film is also being submitted across multiple categories, including best picture, cinematography, and original score. The documentary’s impressive run has solidified its status as a major cultural and cinematic event.
Despite the initial shock of the subject matter, the cinematic journey of You Can See Everything ultimately proves that some things are best seen with full access.
