Advancements in digital technology have allowed "real time cinema" the ability to cover the events without jarring cuts, though not without editing. In a technically complex illusion, the events are unfolding in a kind of more direct discovery method resulting in stronger empathetic attachments to the subjects, which is a suitable for action (thriller) and horror (or as Joe Hill would call it "Extreme Empathy").

Hitchcock figured this out in 1948 with Rope, though abandoned it as a "failed experiment"…

PA at Warner: Sir, I'm sorry, but the five Justice League scripts you asked for were not collated when they got printed.
Zach Snyder: What does that mean?
PA: Well, the scripts are in order, but they were printed together. Each page is from a different script.
ZS: Whatever, we shoot tomorrow.
PA: But sir, each scene just ends arbitrarily, and there is no logical progression from one scene to the next.
ZS: It'll be fine, we'll figure it out on set.…

A celebration of facades, as an aging Western actor finds himself lost and insecure in an industry moving more and more towards gritty realism. His best friend, appropriately, is his out-of-work double, a real-life cowboy in charge of maintaining the illusion of his fame. Throughout the film, we sense a ticking clock of the horror to come, as scenes of a truly radiant Sharon Tate seem both thematically appropriate (shown with glimmers of the same insecurities that cloud every character)…