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“According to Oppenheim, this significant shift in the approach to shooting the documentary, in conjunction with Fielder’s interaction with Holmes and Evans, allowed the “You Can See Everything” filmmaking team to find its rhythm.”
““It was them pulling [Nathan] in, asking him questions, asking him his opinion on things, and then him also realizing, once that started happening, maybe there was an opportunity to at least bring up the things he was observing that were confusing to him, that were also confusing to us,” said Oppenheim.”
“We had to sort of learn the language of each other, and in doing that, we were able to, I think, break new ground artistically,” said Oppenheim.”
“(He even negotiated a “ kill switch ” in his deal with A24, permitting him to abandon the project at any point.) From the start, however, he did see it as an opportunity to collaborate with Oppenheim — not unlike what he did with Benny Safdie on “The Curse” — a director with his own distinct approach to capturing reality.”
““While the camera operators were changing things, Elizabeth and Billy would ask Nathan questions,” said Oppenheim.”
“He also noted arguably the biggest change for the “Nathan for You” and “The Rehearsal” creator: “He wasn’t planning to be on camera for this too.” When it came to capturing Holmes and Evans in their beachside hideaway, the flaws of Oppenheim’s established approach became apparent right from the jump.”
“The result is non-fiction projects that often look and feel like scripted narrative films, using the cinematic form expressively.”
““Then once [Fielder started to appear more frequently on camera], we were like, ‘OK, we have to come up with a new system of doing stuff.”