“I honestly don’t know,” Oppnehim said when asked why Evans would agree to appear naked in a recent GQ interview. “It’s beyond me, but I’ve heard interesting theories that people have when they see it,” he said, before getting into the technical details of how they shot it. “There’s a camera in the bathroom, there’s a camera that was on Nathan, there’s a camera outside the bathroom, and there’s an interaction that we see after Billy leaves where he sort of looks at the camera and smiles.”
“So I don’t know what that means, but I feel like there’s enough stuff in there that gives me the impression that maybe he was excited that people could see everything and that there was full access, I guess,” Oppenheim continued. “But it really beats me, honestly. We were in the car ride on the way back from the gym, and I said to Billy, ‘We will give you some time to shower.’ And Billy responded, ‘Want to film me showering?’ I offered to film him in a way that could avoid seeing his genitals, but Billy said he didn’t care about being seen naked.”
Ahead of the film’s release earlier this month, Evans admitted he hadn’t seen the doc while appearing on the “All-In” podcast. “I haven’t seen it. I might think this is the dumbest thing I have ever done,” Evans said on the podcast, admitting that Holmes “looks insane” in the trailer.
Before hitting theaters on Oct. 16, “You Can See Everything” had been quietly in the works from Fielder and Oppenheim for more than three years. The doc offers an unhinged look at the Theranos founder a month before she began an 11-year prison sentence for defrauding investors.
In addition to being eligible for best documentary feature at the 99th Academy Awards, the film will also be submitted across the board as seen on A24’s awards site: best picture, director, production design, cinematography, costume design, film editing, makeup and hairstyling, sound and original score.
The film has been a major hit with audiences, bringing in $15.6 million from 855 theaters in its opening weekend (the best start for a nonmusical documentary in 20 years) and adding another $19.5 million after expanding to 2,655 venues for its sophomore outing.
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From Variety US