Lance Oppenheim Says Billy Evans Proposed Documentary Shower Scene

Lance Oppenheim says Billy Evans himself suggested the shower scene that brought full-frontal nudity into “You Can See Everything,” the A24 documentary about Elizabeth Holmes that Oppenheim co-directed with Nathan Fielder. In an interview with GQ, the filmmaker described Evans as comfortable with the cameras continuing to roll, although his reasons remained unclear to the director.

According to Oppenheim’s account, reported by Variety, the conversation happened during a drive back from the gym. When the director offered Evans time to shower, Holmes’ partner responded, “Want to film me showering?” Oppenheim said he proposed framing the footage to avoid showing Evans’ genitals, but Evans expressed no concern about appearing naked.

The resulting sequence was recorded from several perspectives, with cameras positioned inside and outside the bathroom and another covering Fielder. Oppenheim also described a moment when Evans looks toward a camera and smiles. The filmmaker suggested Evans might have welcomed demonstrating the breadth of access, but emphasized that he could not explain his motivation with confidence.

That distinction leaves the scene’s origins clearer than its meaning: Oppenheim described an invitation to film, not a definitive explanation of what Evans hoped audiences would take away. His account places the moment within the unusually intimate access granted to the production. It does not establish whether Evans intended the footage to communicate anything beyond his willingness to be recorded.

A24 describes the documentary as beginning 34 days before Holmes was due to enter prison, when the Theranos founder invited a skeptical crew to document her life. The distributor presents that initial encounter as the start of a three-year journey rather than a portrait confined to the weeks before incarceration. The film opened in theaters on October 16, 2026, and runs two hours and 55 minutes.

In the GQ interview, Oppenheim described adapting his working methods to capture events as they unfolded. Fielder was not initially expected to appear on camera, but exchanges with Holmes and Evans gradually pulled him into the footage. The production’s approach consequently evolved around both the subjects’ behavior and the directors’ responses to it.

Evans had not watched the documentary when he appeared on the “All-In” podcast ahead of its release, Variety reported. He acknowledged uncertainty about having participated and said he might ultimately regard it as a mistake. Those remarks described his position before seeing the finished film, rather than a response to its portrayal of him.

For now, Oppenheim’s explanation supplies a behind-the-scenes account without resolving how Evans will assess the result. With the documentary in theaters, the distinction between allowing extensive access and reacting to the finished work remains part of its unfolding public reception. The director’s uncertainty about Evans’ motives leaves that question open.