Billy Evans Disputes Oppenheim Over ‘You Can See Everything’ Scene

But it really beats me, honestly.

Conflicting Accounts of Consent

The scene, which features full-frontal nudity of Holmes’ partner, Billy Evans, has become a flashpoint for debate regarding the film’s production ethics. While Oppenheim maintains that Evans initiated the request and explicitly stated he didn’t care about being seen naked despite an offer to film in a way that would obscure his genitals, Evans has rejected this account. In a recent social media Q&A session, Evans dismissed the filmmaker’s version of events as a false narrative.

Evans further alleged that he had been led to believe the footage would not appear in the final cut. Another source suggested that finding out the truth through media coverage was unsettling for anyone involved. Evans also noted that the shower scene was not his idea.

Production Style and Artistic Intent

Oppenheim compared the film’s approach to the work of Errol Morris, specifically citing The Thin Blue Line. He also referenced Michael Moore and Ross McElwee as examples of directors who become on-screen presences.

When asked about the motivation behind the shower scene, Oppenheim speculated that Evans may have been excited that people could see everything due to the high level of access the crew maintained. The film’s title itself references a text message Holmes sent to Fielder regarding his freedom to film. Oppenheim noted that there was a camera in the bathroom, one on Nathan, and one outside the bathroom. He pointed to an interaction after Billy left where he smiled at the camera as evidence of his state of mind. Despite the ongoing dispute over the shower scene’s inclusion, Oppenheim maintained that the resulting footage remains as close to the real him as possible.

The film serves as an exercise in truth, perception, and distortion. Oppenheim, who previously directed the To Catch a Predator drama Primetime, stated that the film reflects the basic tenets of documentary cinema.