On the other hand, scholars of the film and of Antheil's music almost unanimously consider most of the previous two paragraphs to be unsupported by any verifiable research, and know that to consider any version of the score to be "canonical" is nonsensical. Antheil never claimed to have created a score that could synchronize with the film, and the two or three performances that he did with the film in the early 1930s used only one of the three pianola rolls that comprise the piece (and the duration of that roll is much shorter than that of the film). There is no earlier, shorter version of the score than the one that Antheil wrote for multiple pianolas, and that runs between 25 and 30 minutes, depending on the tempo (although there are two different versions of it, the pianola parts are identical). Delcommune's invention, whose proper name was the "ciné-pupitre" ("Synchro-ciné" was the name of his company, not the device), while it could be useful for synchronizing to a film a score played by conventional instruments and led by a conductor--it was essentially what we now know as a Teleprompter--there was no possible way it could have been used with pianolas, since it lacked any mechanical linkage between the film projector and the pianola mechanisms. Finally, although Leger did continue to make changes to the film for some time (although not until the end of his life), many of the original images shot by Murphy and, presumably, Man Ray have remained in every version.