and that the film would be edited and released in the very near future. Bogdanovich also stated in an April 2, 2007, press report [ 40 ] that a deal to complete the film was "99.9% finished", with a theatrical release planned for late 2008. However, in March, 2008, Bogdanovich said that there was over a year's worth of work left to be done. [ 39 ] In April 2008, Bogdanovich filmed the opening of the Los Angeles vault where Oja Kodar had kept the workprint material cut by Welles, along with other positive film materials. (However, the full original negative remained in France.) Throughout the rest of 2008, some work was done on the Los Angeles material. In June 2008, the Showtime Network set up an editing suite in Los Angeles, to begin preliminary logging in work on all of the material. Bogdanovich personally directed the work, Tim King was the Showtime Executive in charge of post-production, Sasha Welles (a nephew of Oja Kodar) worked on the production as an Assistant Editor, and internships were advertised for people to work on cataloguing the film materials. However, unspecified legal complications throughout this time prevented the opening of the Paris vault containing the full ten hours of original negatives, some of which had not even been seen by Welles in his lifetime. [ 41 ] However, work ground to a halt in December 2008, after a legal challenge from Paul Hunt (who had worked on the film in the 1970s as