Film at Lincoln Center Podcast
Oct 19, 2026 · 25 min · 12 segments
This week we’re excited to present a conversation from the 64th New York Film Festival with You Can See Everything directors Nathan Fielder and Lance Oppenheim, moderated by NYFF Artistic Director…
Nathan FielderGuest
Lance OppenheimGuestWas the idea always for you to be on camera and in the frame? I mean, I know that is, you know, that
But this one I was like, I'm definitely not going to be in this was one of the first things I said when we started.
And so I was just behind the camera with Lance, you know, and it was strange.
I think they sort of, would keep talking to me or asking me questions and I would answer from off camera.
But then eventually the operators would start like panning over to me because the conversations would be long.
He became almost like this accidental like investigator of everyday moments.
And I feel like that also came about, too, because the way we were shooting it initially was like with one camera and anamorphic lenses.
And it was extremely cumbersome and it was the wrong the wrong approach for this.
And every time we would miss a moment or try to change a lens, that would be when they would also be engaging Nathan off camera.
So eventually when we started, I think it was probably about a day of getting it fully wrong, we decided essentially to completely change the way both of us work.
And this movie came about because of this kind of marriage, this union between Nathan's crew that he's worked with for many years and the same crew I've worked with for many years before.
And it basically made us work in this completely new way, which oddly and ironically is like as close to the like tenants of documentary filmmaking, like a very old form of filmmaking, which is just fly on the wall, verite filmmaking.
So we had three cameras, two operators, you know, one would be sometimes on Elizabeth or Billy, one would be on Nathan and, and just, we basically pick zones of the house and have these extremely long zoom lenses.
And we were trying to do that in effort essentially to just try and take all the pressure away from any moment so that they, and we would be shooting like 16 hours a day.
didn't always either, but we, I mean, we, we started setting up the cameras like Lance said, where we would, we had a wide lens that would cover the whole house.
And then the other two cameras, like 25 to two 50 lenses could be wide, but then also zoom.
Was the idea always for you to be on camera and in the frame? I mean, I know that is, you know, that
But this one I was like, I'm definitely not going to be in this was one of the first things I said when we started.
And so I was just behind the camera with Lance, you know, and it was strange.
I think they sort of, would keep talking to me or asking me questions and I would answer from off camera.
But then eventually the operators would start like panning over to me because the conversations would be long.
He became almost like this accidental like investigator of everyday moments.
And I feel like that also came about, too, because the way we were shooting it initially was like with one camera and anamorphic lenses.
And it was extremely cumbersome and it was the wrong the wrong approach for this.
And every time we would miss a moment or try to change a lens, that would be when they would also be engaging Nathan off camera.
So eventually when we started, I think it was probably about a day of getting it fully wrong, we decided essentially to completely change the way both of us work.
And this movie came about because of this kind of marriage, this union between Nathan's crew that he's worked with for many years and the same crew I've worked with for many years before.
And it basically made us work in this completely new way, which oddly and ironically is like as close to the like tenants of documentary filmmaking, like a very old form of filmmaking, which is just fly on the wall, verite filmmaking.
So we had three cameras, two operators, you know, one would be sometimes on Elizabeth or Billy, one would be on Nathan and, and just, we basically pick zones of the house and have these extremely long zoom lenses.
And we were trying to do that in effort essentially to just try and take all the pressure away from any moment so that they, and we would be shooting like 16 hours a day.
didn't always either, but we, I mean, we, we started setting up the cameras like Lance said, where we would, we had a wide lens that would cover the whole house.
And then the other two cameras, like 25 to two 50 lenses could be wide, but then also zoom.
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.
