Yes, Blunted, I agree, Wilson does deserve much credit for saving a lot of Welles' material. I would not say, however, that left up to Welles, it would have been "forget it." It was Welles who brought a great deal of that stuff to Wilson's rather renowned garage. Now you might argue that he should have had it stored in some warehouse, like his "rosebud," but Welles was a man constantly on the move, and generally short of money, always seeking personal connections. And part of our discussion is about the circumstances under which important things were destroyed by the fire in his house in Spain, as referred to in OMB. He tried to preserve things, but he had extraordinary bad luck.
[One obsessed on conspiracies might suspect that he had enemies, some of them in high places, comfortable to see the curtailing, if not the destruction of his career. After all, J. Edgar Hoover, for instance, had his FBI taking an interest in Welles' career and prestige because of his early interest in what became known as "Civil Rights," and for his association with people of color.]
You might note, that the original negative of CITIZEN KANE, safely stored in RKO vaults, was destroyed in a fire.
Yes, Wilson did have a hand in the final editing of the segment about the Brazilian fishermen. It formed the major section of IT'S ALL TRUE, which I am referring to, again a project that Wilson helped produce. As I remember it, however, Wilson didn't have that material in his garage. It was discovered, mislabeled, in a studio vault.
Still, Richard Wilson is one more example, as is Bogdanovich from a different generation, of the extraordinary loyalty over many decades, which Welles commanded.