part of the wartime Good Neighbor policy—his attempts to protect his version ultimately failed. Details of Welles's conflict over the editing are included in the 1993 documentary about It's All True. "Of course I expected that there would be an uproar about a picture which, by any ordinary American standards, was much darker than anybody was making pictures," Welles told biographer Barbara Leaming. "There was just a built-in dread of the downbeat movie, and I knew I'd have that to face, but I thought I had a movie so good—I was absolutely certain of its value, much more than of Kane… It's a tremendous preparation for the boardinghouse… and the terrible walk of George Minafer when he gets his comeuppance. And without that, there wasn't any plot. It's all about some rich people fighting in their house." Welles said he would not have gone to South America without the studio's guarantee that he could finish editing The Magnificent Ambersons there. "And they absolutely betrayed me and never gave me a shot at it. You know, all I could do was send wires… But I couldn't walk out on a job which had diplomatic overtones. I was representing America in Brazil, you see. I was a prisoner of the Good Neighbor Policy. That's what made it such a nightmare. I couldn't walk out on Mr. Roosevelt's Good Neighbor policy with the biggest single thing that they'd done on the cultural level, and simply walk away. And I couldn't get my film in my hands." The negatives for the excised portions of The Magnificent Ambersons were later destroyed in order to free vault space. A print of the rough cut sent to Welles in Brazil has yet to be found and is generally considered to be lost, along with the prints from the previews. A documentary team led by Joshua Grossberg and backed by Turner Classic Movies plans a search for the rough cut in September 2021. Filmmaker Brian Rose revealed in January 2021 he hopes to restore the original version of the film by use of animation. However, his plan does not yet have the backing of the rights holder. The film features what could be considered an in-joke: news of the increase in automobile accidents is featured prominently on the front page of the Indianapolis Daily Inquirer, part of the fictional chain of newspapers owned by mogul Charles Foster Kane