idea for this segment as her own. She also claims credit for the movie's opening sequence, which consists of shots of a miniskirt-clad Kodar walking down streets while rubbernecking male admirers (unaware that they are being filmed) stop and openly stare. This sequence is described by Kodar as inspired by her feminism; in his narration, Welles claims the footage was originally shot for an unrelated production. Locations Rome, Italy – Girl-watching sequence Ibiza, Spain – 16 mm elements from the original Reichenbach documentary Paris, France – Gare d'Austerlitz, Champ de Mars, art gallery on left bank, La Méditerranée seafood restaurant Los Angeles – The Beverly Hills Hotel – The ham sandwich of Howard Hughes Chartres Cathedral – France Orvilliers, France – Orson Welles and Oja Kodar house—editing-room scenes, set for various indoor scenes Houdan, France – Oja and Picasso story Paris-Orly Airport – South terminal terrace and main hall Trailer F for Fake was not released in the USA until 1976. When it finally came out, Welles produced a preview "trailer" for it, which was effectively a wholly original 9-minute film, shot and edited in a similar style to the film itself. Apart from some very brief split-second camera shots, the entire film is a self-contained short containing original material starring Welles, Gary Graver and Oja Kodar. The trailer raises new questions about key people in the main film: Picasso, Kodar, Elmyr, and others. These allegations are supposedly revealed in the main film. They include a wig, Oja Kodar's fake name, her tiger (not shown in the film at all), and extraterrestrial sponsors of Welles's War of the Worlds broadcast. The trailer has subsequently been restored in colour, and is included as an extra on some DVD versions of the film. Reception F for Fake faced widespread popular rejection. Critical reaction ranged from praise to confusion and hostility, with many finding the work to be self-indulgent or incoherent. F for Fake has grown somewhat in stature over the years. The film embraces ideas from the self-conscious notation of the film process to the ironic employment of 1950s-era B movie footage (Earth vs. the Flying Saucers). Welles thought he was creating a new form of cinema. When writer Jonathan Rosenbaum asked Welles if he was creating a documentary, he replied, “No, not a documentary—a new kind of film." On review aggregator Rotten Tomatoes, the film has an approval rating of 88%