Although the original negative of the film long remained in a Paris vault, two workprint versions of much of the raw footage were privately held - one by Welles' cinematographer Gary Graver, who shot the film, and one by Welles himself, who covertly smuggled a copy out of Paris after the legal difficulties started. Welles left his own workprint copy to Kodar, as part of the clause of his will giving her all his unfinished film materials. (Kodar can be seen visiting a storeroom containing these materials in the "Orson Welles: One Man Band" documentary.)