Before releasing the Elizabeth Holmes documentary "You Can See Everything," co-director Nathan Fielder established a unique contractual safety net with entertainment studio A24. According to fellow co-director Lance Oppenheim, Fielder pushed for a specific clause allowing the filmmaking team to walk away from the project and deliver nothing if their exploration failed to yield an original narrative.
Concerns Over an Already Saturated Public Narrative
The decision to pursue the unusual stipulation stemmed from hesitation surrounding the subject matter. The rise and fall of Theranos founder Elizabeth Holmes had already achieved extensive media coverage across multiple platforms. Prior to production, the corporate scandal had formed the basis of an acclaimed podcast, an Alex Gibney investigative documentary, a best-selling nonfiction book, and the Hulu scripted miniseries "The Dropout."
Because the public was well-versed in the facts of the Theranos downfall, Fielder was cautious about repeating established story beats. Oppenheim revealed in an interview that Fielder approached A24 with a proposal to see whether a worthwhile story existed without the obligation of having to force a finished product.
The A24 Agreement and Creative Freedom
Under the terms presented to the distributor, the filmmakers sought financial backing paired with complete independence and no requirement to release the footage if the shoot fell flat. Oppenheim noted that Fielder asked A24 whether the company would be willing to provide funding, leave the crew alone, and grant a contractual provision enabling them to discard the footage entirely if they uncovered nothing substantial.
A24 accepted the condition, which Oppenheim said drastically shifted how the filmmakers handled production. The agreement relieved the pressure of ongoing corporate oversight. Oppenheim highlighted that having the leeway to scrap the movie created a rare working environment based strictly on curiosity, likening the process to going on an open-ended fishing trip.
Operating Under a Tight Pre-Prison Timeline
The filmmakers faced intense external constraints, entering Holmes' orbit with only 34 days remaining before she was scheduled to report to prison. In a separate discussion with Wired Magazine, Fielder explained that while he felt an initial spark of an idea, the approaching surrender date meant no one knew what the resulting dynamic would look like on camera.
Fielder noted that having the option to pull the plug alleviated the immense stress typically tied to producing a film. He felt empowered to interact candidly with both Holmes and the studio because there was no contractual burden requiring him to force a narrative. Both directors viewed the undertaking with the perspective that, even if the film fell apart, the shoot would simply serve as an intriguing personal experience.
The Documentary's Path to Release
Despite having the exit option in place, the creative team decided not to invoke the clause. Oppenheim and Fielder continued through the compressed production window, eventually turning the footage into the completed theatrical feature "You Can See Everything."
The film has since moved into general distribution, emerging as a major discussion point in current cinema following the long media cycle that tracked Holmes' high-profile legal battle.
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Source: Variety
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