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NYFF64: You Can See Everything Q&A with Nathan Fielder & Lance Oppenheim

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2,091,105 views vs a median of 1,336 across the channel's last 15 long-form uploads · as of Nov 4

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Following a screening of their documentary You Can See Everything at Alice Tully Hall, filmmakers Lance Oppenheim and Nathan Fielder join New York Film Festival artistic director Dennis Lim to discuss documenting Elizabeth Holmes and partner Billy Evans prior to her incarceration. They break down the film's unexpected genesis, their minimalist three-camera verité technical setup, and the psychological cognitive dissonance experienced by the entire production team.

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Source: Nathan Fielder and Lance Oppenheim on You Can See Everything · Film at Lincoln Center
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    At the 64th New York Film Festival presented by Film at Lincoln Center, director Lance Oppenheim and collaborator Nathan Fielder sat down with festival artistic director Dennis Lim for a post-screening discussion of their documentary You Can See Everything. Lim opened the Q&A by asking attendees to refrain from posting spoilers or recording the conversation, emphasizing that the project relies heavily on audience surprise, prompting humorous banter about public shaming0:52.

    Oppenheim traced the film's origins to a cold email in 20211:35 after noticing on distributor tracking software that Fielder had watched 60% of his debut documentary Some Kind of Heaven. The two became friends and later visited the Magic Castle in Los Angeles2:15, where a mention of Theranos founder Elizabeth Holmes sparked a conversation. Oppenheim had learned that Holmes was seeking someone to document her life and had previously contacted studio A24. Fielder, having read John Carreyrou’s investigative book Bad Blood, initially doubted there was an untold story left to capture, but was intrigued to meet her in person. A24 agreed to finance the experiment without any guaranteed storyline, allowing the filmmakers to enter her home with cameras under an open-ended mandate4:35.

    During filming, the crew constantly experienced intense cognitive dissonance5:30, as members routinely argued over whether Holmes was acting genuinely or performing falsehoods during routine domestic scenes. Oppenheim described the bizarre atmosphere as resembling the otherworldly Zone in Andrei Tarkovsky’s Stalker7:20. Though Fielder initially intended to stay behind the camera, the subjects repeatedly directed questions toward him, leading camera operators to pan in his direction and inadvertently turning him into an on-screen participant investigator8:35.

    Technically, the filmmakers abandoned an initial single-camera anamorphic setup after just one day because slow lens re-framing caused them to miss pivotal spontaneous moments. Together with cinematographer David Bolan, they pivoted to a three-camera verité arrangement9:30 utilizing 25-250mm zoom lenses and a hidden static wide camera. The production was limited to seven total crew members10:38 with only four inside the residence at a time, shooting up to 16 hours a day relying strictly on ambient natural lighting. They also adopted an unusually tight aspect ratio12:40 to eliminate environmental distractions and scrutinize facial expressions.

    Addressing their current relationship with the subjects, Oppenheim and Fielder confirmed that Holmes remains incarcerated serving her sentence14:25 and neither she nor partner Billy Evans has watched the finished cut. Direct communication ceased after Evans attempted to exert editorial control, threatening the production's independence. In closing, Fielder shared that he and editor Adam Locke-Norton are still grappling with the footage's meaning20:30, before Oppenheim gave a heartfelt shout-out to their crew21:20 seated in Alice Tully Hall.

    Highlights
    1. 0:35Spoiler plea for future audiences
    2. 2:15Magic Castle conversation about Elizabeth Holmes
    3. 3:40Pitching open-ended documentary to A24
    4. 8:55Pivoting from anamorphic to three-camera verité
    5. 14:10Clarifying Elizabeth Holmes's incarceration and Billy Evans relationship
    6. 16:15Documentary traditions and influence of Overnight
    Chapters across the 22:21 runtime
    How it's told

    A film festival panel post-screening Q&A

    Format: Panel. Moderator Dennis Lim leads documentary co-creators Lance Oppenheim and Nathan Fielder through an in-depth stage conversation about filming Elizabeth Holmes. They unpack the project's inception, technical adaptations, direct cinema inspirations, and the lingering cognitive dissonance of the experience.

    Story arc

    1. 0:00Introduction and Anti-Spoiler RequestDennis Lim introduces the panel and requests that audiences avoid sharing spoilers or footage, leading into deadpan comedic banter from Nathan Fielder.
    2. 1:26Project Genesis and Magic Castle AnecdoteLance Oppenheim explains reaching out to Nathan after tracking his viewing metrics, which sparked a collaboration and the revelation that Elizabeth Holmes was seeking a director.
    3. 3:45Engaging Elizabeth Holmes and A24Nathan details his first encounter with Holmes, the psychological dissonance of her presence, and negotiating no-strings-attached financing from A24.
    4. 7:22Production Reality and Evolving AestheticsThe filmmakers recount the surreal environment inside the residence and explain shifting from single-camera anamorphic shooting to an agile three-camera observational rig.
    5. 14:02Current Status and Relationship FalloutThe panel clarifies that Holmes remains incarcerated and has not seen the cut, while discussing their severed communication with Billy Evans over editorial control.
    6. 16:01Documentary Precedents and Direct CinemaNathan and Lance explore direct cinema forebears including Overnight, Frederick Wiseman, Errol Morris, and the Maysles brothers to analyze truth versus manipulation.
    7. 20:09Final Philosophical Reflections and Crew HonorsNathan reflects on the unresolved nature of what they documented, followed by Lance publicly introducing and thanking all production crew members in the room.

    Setups and payoffs

    1. 0:43Setup Dennis Lim asks attendees not to spoil the documentary online before theatrical release.
      ↳
      18:55Payoff Nathan reiterates the anti-spoiler request so that theatrical viewers experience the film cold.
    2. 0:52Setup Nathan jokes about audience members shaming peers who leak details.
      ↳
      19:03Payoff Lance and Nathan revisit the audience shaming joke before wrapping up their remarks.
    3. 1:43Setup Lance reveals he cold-emailed Nathan after tracking that Nathan watched 60% of Some Kind of Heaven.
      ↳
      2:54Payoff Nathan confirms he eventually completed watching the film and was eager to meet Lance.
    4. 8:06Setup Nathan explains his original intention to stay entirely off-camera.
      ↳
      9:18Payoff Lance explains that Holmes constantly addressed Nathan, compelling the production to put him on camera.
    5. 10:37Setup Nathan notes that the film was made with a tiny, tight-knit crew of only seven people.
      ↳
      21:18Payoff Lance individually names and honors all the crew members sitting in the auditorium.

    Devices

    • Deadpan HumorNathan uses poker-faced humor and self-deprecation to undercut high-toned festival decorum.0:526:11
    • MetaphorLance describes the disorienting, reality-distorting atmosphere of the Holmes house as Tarkovsky's 'Zone'.7:23
    • Cinephilic IntertextualityThe creators contrast direct cinema precedents like Wiseman, the Maysles, and Overnight against their own approach.16:1117:05
    • Dramatic IronyDennis Lim jokes about a potential presidential pardon, highlighting the bizarre legal circumstances surrounding Holmes.14:17

    From the video's own structure, matched to the transcript and on-screen text.

    Teardown

    The video massively outperforms because it delivers rare, unfiltered footage of cult comedy icon Nathan Fielder discussing a secret, high-profile project about Elizabeth Holmes in his trademark deadpan style.

    A breakout: 1,557× its typical views (2,056,452 vs a median of 1,321 across the channel's last 15 long-form uploads, as of Nov 3) · Long-form panel · 15 days old

    The promise

    Viewers expect to watch a rare, in-depth discussion featuring Nathan Fielder sharing insights on filmmaking and creative projects.

    Packaging

    How it looks in the feed

    Show the feed as
    22:21

    Nathan Fielder and Lance Oppenheim on You Can See Everything

    Film at Lincoln Center2M views · 2w agoAt the 64th New York Film Festival, Nathan Fielder and Lance Oppenheim discuss You Can See Everything with NYFF Artistic Director Dennis Lim following the New…

    Views and age as of the teardown, Nov 3, 2026. Other videos are blanked out.

    • 4/5Thumbnail imageNathan Fielder's clear face and mid-speech expression immediately capture attention against a clean, dark backdrop. The composition is uncluttered and reads well at small mobile sizes.A sharp photograph of Nathan Fielder speaking into a NYFF microphone alongside Lance Oppenheim on a stage.
    • 3/5Thumbnail textThere is no graphic text overlaid on the frame, keeping the visual completely natural. It avoids clutter but misses a chance to frame the conversation's core question.Zero overlaid text on the thumbnail image.
    • 3/5TitleIt reads like a standard festival panel label rather than an engineered click hook. The pull relies almost entirely on the name recognition of Nathan Fielder.Title reads 'Nathan Fielder and Lance Oppenheim on You Can See Everything'.
    • 4/5Title + thumbnailThe pairing functions as an authentic event document where the image confirms Nathan Fielder's presence and the title names the subject. It creates strong appeal for fans eager to hear him speak outside of character.The image shows Nathan mid-sentence at a festival mic while the title specifies the panel participants and topic.

    Curiosity gap: Fans want to know what the notoriously private Nathan Fielder has to say in an unscripted live discussion.

    The three hooks

    The title, the thumbnail text and the first words spoken each make a promise, and each does a different job.

    • Title“Nathan Fielder and Lance Oppenheim on You Can See Everything”AuthorityCuriosityNoveltyIt makes viewers want to hear rare, candid creative commentary directly from Nathan Fielder.
    • Thumbnail textNo text on the thumbnail.
    • First words spoken“Hi everyone, thank you so much for being here.”OtherThe moderator's standard opening greeting merely signals the beginning of an in-person event, relying entirely on the visual presence of Nathan Fielder on stage to retain the viewer.
    • PairingNo thumbnail textThe packaging leaves all verbal context to the title while the thumbnail relies solely on the photo.
    • StakesFitsThe packaging promises an in-depth conversation between Nathan Fielder and Lance Oppenheim, and the video delivers 22 minutes of candid, unscripted reflections on their collaboration.
    • UrgencyNoneThe video presents an archival festival panel discussion without manufactured countdowns or artificial FOMO.

    The first 20 seconds

    TimeWhat you seeWhat you hearWhat it does
    0:00Green screen with animated NYFF64 festival typography.Low synth drone.Establishes the festival branding and screening series.
    0:01Text 'FILM AT LINCOLN CENTER PRESENTS' appears around the logo.Drone continues.Reinforces the institutional presenter.
    0:02The NYFF64 logo graphic settles in center frame.Drone gently fades.Transitions out of the festival bumper.
    0:03Purple title card reading 'You Can See Everything' with Rolex and Dolby Atmos logos.Silence.Confirms the title of the film being discussed.
    0:04Static title card with social links at the bottom.Silence.Gives viewers time to register the project title.
    0:05Static title card remains on screen.Silence.Holds the title card before cutting to the event.
    0:06Purple title card begins fading to black.Silence transitioning to ambient theater noise.Prepares the viewer for the live footage.
    0:07Wide shot of the dark theater stage where three guests sit beneath the projection screen.Audience applause starts.Confirms a live in-person Q&A format.
    0:08Guests on stage settle into their chairs as applause grows louder.Loud audience applause and cheering.Transfers the live energy of the room to the viewer.
    0:09Silhouettes of audience members in the foreground watching the stage.Sustained applause.Establishes the scale and intimacy of the auditorium.
    0:10An audience member holds up a smartphone in silhouette to record the stage.Applause continues.Shows fan anticipation for the guests on stage.
    0:11Wide static view of the three speakers on stage.Applause begins tapering down.Focuses attention onto the panel.
    0:12The speakers hold microphones while waiting for quiet.Applause fades into ambient rustling.Builds expectation for the first question.
    0:13Silhouetted hands clap gently in the lower left foreground.Scattered claps and room tone.Captures the end of the applause.
    0:14The auditorium quietens as the panel prepares to talk.Audience settling and room reverberation.Clears the audio for speaking.
    0:15Wide view of the panel under the lit screen.Low room tone.Maintains a steady archival perspective.
    0:16The moderator on the right adjusts his notes and raises his microphone.Silence.Signals that the conversation is starting.
    0:17Moderator brings microphone up to speak.Silence.Prepares viewer for opening remarks.
    0:18Moderator begins speaking from the right chair.Moderator: 'Hi everyone, thank you so much for being here.'Kicks off the formal Q&A session.
    0:19The panel listens as the moderator continues his introduction.Moderator continues speaking off-mic/low.Welcomes the live audience.
    0:20Wide shot holds on the three seated speakers on stage.Moderator introduces the evening's conversation.Transitions directly into the discussion.
    Click confirmation
    The title card at 00:03 confirms 'You Can See Everything', and the cut to the stage at 00:07 shows Nathan Fielder and Lance Oppenheim seated for the festival Q&A.
    Time to the point
    0:07
    Hook
    in the middle of the action
    Reason to stay
    Fans stay to hear Nathan Fielder and Lance Oppenheim discuss the creative process and behind-the-scenes stories of their collaboration.
    Missing on purpose
    No teaser clips, voiceover recap, or subscribe requests; it cuts straight from festival title cards into the uncut stage recording.
    Pace and texture
    Very slow and unhurried, spending six seconds on static title graphics before holding a single wide master shot of the theater stage.

    Story map

    Story-time. Two unconventional filmmakers gain unprecedented access to document convicted fraudster Elizabeth Holmes before she reports to federal prison, struggling against cognitive dissonance, technical failure, and subject manipulation to preserve their artistic independence.

    TimeSectionNew tensionStakesTurnLoops
    0:00 –1:15Introduction and Anti-Spoiler PleaWill the panel reveal spoilers or keep the discussion vague?HoldDennis asks the crowd not to record spoilers, but Nathan undercuts the solemn tone by asking if the audience should publicly shame leakers.Opens: What is the secret documentary actually about?
    1:15 –3:45Cold Email and the Magic CastleHow did two completely different directors end up collaborating on Elizabeth Holmes?RiseLance and Nathan met over an unfinished viewing link, therefore hanging out until a random magician's prompt connected them to Holmes' desire for a filmmaker.Opens: Why would Elizabeth Holmes choose Nathan Fielder of all people?Closes: How the creative partnership began.
    3:45 –6:10Pitching A24 and Cognitive DissonanceCan the filmmakers capture truth from a convicted manipulator without being conned?RiseNathan felt Holmes was genuinely warm, but he knew she was a liar, therefore setting up an observational filming environment with no guaranteed deliverables.Opens: How did the crew handle living inside that psychological tension?Closes: How A24 agreed to finance the project.
    6:10 –7:55The Atmosphere Inside Holmes' HouseWhat was the daily reality inside the house during her final weeks of freedom?HoldDennis asks why Holmes picked Nathan, but Nathan admits her stated reason was just calling it a 'human story', leaving her true motive unresolved.Opens: What did Holmes actually expect from Nathan?Closes: Why Nathan felt ill-suited as a comforting presence.
    7:55 –11:45Developing the Three-Camera Verité WorkflowHow did technical production limitations threaten to ruin their access?RiseNathan planned to stay off-camera, but Holmes kept directing conversations at him, therefore forcing a total overhaul to a three-camera setup with zoom lenses.Opens: How does the multi-camera footage look without traditional lighting?Closes: Why Nathan ended up appearing on-screen in the film.
    11:45 –14:05Aspect Ratio and Facial LandscapesDoes the technical framing enhance or distract from evaluating the subjects' honesty?HoldWider framing showed the house, but it distracted from the subjects' eyes, therefore the team constricted the aspect ratio to turn faces into landscapes.Opens: Have the subjects seen the resulting movie?Closes: Why the movie used tight framing instead of sweeping cinematic shots.
    14:05 –16:05Status of Subjects and IncarcerationWhat is the current legal and personal relationship between the filmmakers and the subjects?RiseFilming concluded peacefully, but Billy Evans attempted to seize editorial control, therefore the filmmakers permanently severed contact.Opens: Will Elizabeth Holmes ever watch the footage from prison?Closes: Current status of Holmes and whether she saw the film.
    16:05 –18:35Documentary Traditions and Organic FilmmakingIs this project a structured expose or an uncontrolled record of reality?HoldSag: no turnCloses: Which historical documentary filmmakers influenced their approach.
    18:35 –20:10Preserving the Audience ExperienceWill online leaks ruin the narrative surprise before theatrical release?FallSag: no turn
    20:10 –22:21Personal Takeaways and Crew AcknowledgmentsDid making the movie bring any ultimate clarity to what actually happened?FallNathan expected to understand the experience after editing, but admits he remains completely bewildered, therefore relying on audience reaction for answers.Closes: Final thoughts from the directors.

    Payoff: delivered fully at 4:42. Nathan Fielder describes meeting Elizabeth Holmes, feeling charmed yet recognizing her dishonesty, and convincing A24 to back an open-ended shoot with zero deliverables. Ending: Lance Oppenheim reads off a lengthy list of individual crew members seated in the auditorium while Nathan makes self-deprecating remarks about his sleep schedule, closing on polite applause.

    Leaks

    Where a viewer might leave. Guesses from watching, not retention data.

    • 0:00 Six seconds of silent, static sponsor slides and festival logos test viewer patience before any live stage action appears.
    • 11:45 The conversation shifts into deep technical shop talk about aspect ratios and lens focal lengths, which alienates casual viewers seeking character drama.
    • 18:35 The panelists spend nearly two minutes repeating pleas to the audience not to post spoilers online, stalling narrative momentum.
    • 21:18 Lance begins a generic roll call of over ten crew members in the audience, signaling to digital viewers that the conversation is over.

    Steal this

    1. Disarm formal prestige settings using deadpan personal self-deprecation. Undercutting serious panel etiquette creates instant comedic intimacy and validates the audience's natural skepticism. 0:52
    2. Transparently explain an early technical failure and the pivot that saved the project. Admitting that the initial equipment package was wrong builds immense credibility before detailing the creative solution. 8:46
    3. Frame abstract filmmaking decisions around human psychology rather than gear specs. Explaining that camera angles and aspect ratios were chosen specifically to spot micro-lies turns technical choices into a compelling psychological detective story. 12:44

    Skip this

    • Relying on a static 20-second logo card opening without any spoken hook or montage preview. This institutional festival format only holds viewers because Nathan Fielder's rare public appearances command intense loyalty from fans willing to wait.
    • Spending the final two minutes reading names of production staff sitting in the hall. In-room etiquette works for live screenings, but causes digital video retention to drop off sharply.

    Open questions

    • What specific cut or scenes of the film were screened to the audience immediately before this recording began?
    • How much of the total view count was driven by external embeds on comedy subreddits versus YouTube's native algorithm?

    Teardown by Avail.video from the thumbnail, the title, the first 20 seconds and the report's notes on the whole video.

    On screen

    Everything the video showed you

    Slides, frameworks, quotes and formulas, captured verbatim with the moment they appeared. Tap any card to jump there.

    Reference shelf

    People, ideas and things mentioned

    Said means mentioned aloud; Shown means it appeared on screen.

    People26

    • Nathan FielderComedian, filmmaker, and co-creator of the documentary You Can See Everything.0:07Said + shown0:21Said + shown0:22Said + shown0:52Said + shown1:03Said + shown1:38Said + shown1:45Said2:08Said + shown2:25Said + shown2:47Said + shown2:55Said3:00Said + shown6:11Said + shown6:47Said + shown8:03Said + shown9:14Said + shown10:07Said + shown11:13Said + shown12:37Said + shown13:35Said + shown14:20Said + shown14:42Said + shown16:13Said + shown17:47Said + shown19:08Said + shown20:10Said + shown21:21Shown22:09Said + shown
    • Lance OppenheimDocumentary filmmaker and director of Some Kind of Heaven and You Can See Everything.0:07Said + shown0:21Shown0:22Said + shown0:26Said + shown1:00Said1:26Said + shown2:54Said + shown3:01Said + shown3:03Shown4:56Said + shown5:20Said + shown7:22Said + shown8:34Said + shown9:09Said + shown10:09Said + shown11:58Said + shown13:08Said + shown14:11Said + shown15:26Said + shown16:02Said + shown16:46Said + shown19:08Said + shown20:56Said + shown22:06Said + shown
    • Dennis LimArtistic Director of the New York Film Festival and post-screening Q&A moderator.0:07Said + shown0:20Said + shown0:26Said + shown1:03Said + shown6:27Said + shown8:39Said + shown11:57Said + shown13:59Said + shown15:16Said + shown18:40Said + shown19:42Said + shown22:05Said + shown
    • Elizabeth HolmesFounder of Theranos, convicted of wire fraud, and subject of the documentary.2:15Said2:17Said2:20Said2:24Said2:30Said3:14Said3:59Said4:09Said6:14Said9:37Said14:08Said14:11Said14:13Said14:15Said14:30Said
    • Billy EvansPartner of Elizabeth Holmes who engaged with the filmmakers during shooting.9:37Said9:40Said14:08Said14:11Said14:40Said14:41Said14:51Said15:00Said
    • David BolenCinematographer on You Can See Everything.5:20Said5:21Said10:48Said10:50Said12:22Said21:25Said
    • Jonathan MitchellCamera operator on the documentary production crew.5:22Said11:27Said12:25Said
    • Richard CarlosSound mixer for the documentary.5:25Said
    • Tatiana BearsProducer of You Can See Everything.5:26Said12:26Said
    • David BlaineIllusionist and magician.4:22Said
    • John CarreyrouJournalist and author of Bad Blood.3:11Said
    • Albert and David MayslesPioneering direct cinema documentary filmmakers.17:05Said
    • Frederick WisemanAmerican direct cinema documentary filmmaker.17:07Said
    • Troy DuffyDirector of The Boondock Saints and central subject of Overnight.16:18Said
    • Adam Locke-NortonFilm editor for You Can See Everything.20:30Said
    • Errol MorrisAmerican non-fiction filmmaker.17:32Said
    • Maggie AmbroseProducer on You Can See Everything.21:28Said
    • Abigail RoweProducer on the documentary.21:29Said
    • Jack DavisProducer on the documentary.21:30Said
    • Paul HsuSound designer and sound mixer.21:33Said
    • EricSound mixer recognized in the audience.21:33Said21:35Said
    • David ShaneProduction crew member on the film.21:36Said
    • Christian VazquezCrew member recognized during credits.21:37Said
    • Damian VanderwiltProduction crew member on You Can See Everything.21:40Said
    • PreethaCrew member acknowledged by Lance Oppenheim.21:41Said
    • Rita WalshPost-production supervisor on the documentary.21:42Said21:43Said

    Ideas & frameworks5

    • Some Kind of Heaven2020 documentary feature directed by Lance Oppenheim focusing on The Villages, Florida.1:45Said
    • Bad BloodNon-fiction book by John Carreyrou detailing the Theranos scandal.3:05Said
    • Overnight2003 documentary chronicling the hubristic rise and fall of Troy Duffy.16:15Said
    • Stalker1979 science fiction art film directed by Andrei Tarkovsky.7:20Said
    • You Can See EverythingDocumentary film about Elizabeth Holmes directed by Nathan Fielder and Lance Oppenheim.0:03Shown0:04Shown

    Organizations2

    • A24Independent entertainment production and distribution company.2:30Said4:30Said
    • New York Film FestivalAnnual film festival presented by Film at Lincoln Center.0:00Shown0:01Shown0:02Shown0:03Shown0:22Shown22:13Shown22:15Shown22:16Shown

    Things on screen1

    • Alice Tully HallConcert hall at Lincoln Center hosting the festival screening and Q&A.0:08Shown1:09Shown22:16Shown22:18Shown
    Video description

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    By the numbers

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    The video

    Views
    2.1M
    Likes
    18.2K
    Comments
    1.4K
    Published
    Oct 19, 2026
    Length
    22:21
    Category
    Film & Animation
    YouTube's topics
    Entertainment, Film
    Captions
    No
    HD
    Yes
    Language
    English
    Paid promotion
    None declared
    Made for kids
    No
    License
    Standard YouTube

    Creator's tags

    • Film at Lincoln Center

    The channel

    Film at Lincoln Center@filmlinc
    Subscribers
    203K
    Videos
    4.7K
    Total views
    121.4M
    Channel age
    18 years (since Sep 2008)
    Country
    United States
    Uploads
    about every day
    Across the last 15 long-form uploads
    Before this video
    4 days after the previous long-form upload

    Calculated by Avail.video from YouTube's public numbers

    Outlier score
    1,565× · Breakout
    Views against the median of the channel's last 15 long-form uploads
    Views per subscriber
    10.3
    Likes vs the channel's usual
    0.7× the channel's usual
    0.87% of views vs a usual 1.2%
    Comments vs the channel's usual
    —
    0.069% of views vs a usual 0%
    Rank among recent uploads
    #1 of 16
    By views: this video and the channel's last 15 long-form uploads
    Views over the last 30 days

    2.1M on Nov 3, 2026 to 2.1M on Nov 4, 2026 · 3 readings

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