In the ever-evolving landscape of documentary filmmaking, the unique challenges of capturing untold stories can often lead to unconventional creative decisions. This was the case for “You Can See Everything,” a documentary centered on the enigmatic figure of Elizabeth Holmes, where co-director Nathan Fielder’s apprehensions about the project led to an ingenious solution: a “kill switch” provision in their contract with A24.
Negotiating Creative Freedom
In an insightful interview with IndieWire, Oppenheim shared details on how Fielder’s idea of a kill switch helped shape the project. Fielder was initially skeptical about finding a fresh angle on the well-documented Elizabeth Holmes story, which had already been explored through various media, including a popular podcast, a best-selling book, and even a scripted series, “The Dropout.”
The Provision That Changed Everything
Fielder turned to A24, proposing a bold negotiation. “Nathan [said to A24], ‘Well, do you think if Lance and I were to go and see if there was something there, would you be comfortable with giving us money and essentially just leaving us alone, and giving us a provision in our deal, whatever the money was, that we could just kill it at any time?’” explained Oppenheim. “They thankfully agreed.”
With just 34 days before Holmes was set to face prison time, the “kill switch” not only alleviated the pressure of the timelines but also empowered the filmmakers with creative freedom. Oppenheim remarked, “This was the first time where I’ve ever been like, ‘Oh, we actually have room to explore something without any pressure of anyone looking [over us].” He expressed a desire for such freedom in all his projects, highlighting that it allowed for pure curiosity-driven storytelling.
A Comforting Safety Net
In a separate interview with Wired, Fielder elaborated on his reasoning behind securing the kill switch. “I told A24, ‘I don’t really know what the angle is, but there is something tickling in my brain,’” he stated. Acknowledging the uncertainty surrounding Holmes’ impending legal fate, Fielder added, “I was like, ‘If you guys want, I’m down to go down and start filming and see what emerges. But we need the ability to deliver nothing to you guys if it doesn’t work out.’”
This provision, according to Fielder, provided a sense of relief amid the stress of filmmaking. “It really meant I didn’t have to hold back with her or with them,” he said. With the kill switch in place, both he and Oppenheim were able to approach the project with an open mind, believing that even if the documentary didn’t succeed, they still had the opportunity for interesting experiences to emerge during the filming process.
