The elasticity of time is perhaps best appreciated when we are the spectators of a performance, be it a film, a play, a concert or a lecture. The actual duration of the performance and its mental duration are different things. To illustrate the factors that contribute to this varied experience of time, we can turn to the example of Alfred Hitchcock's 1948 film Rope. This technically remarkable work was shot in continuous, unedited 10-minute takes. Few features have been produced in their entirety using this approach. Orson Welles in Touch of Evil, Robert Altman in The Player and Martin Scorsese in GoodFellas employed long, continuous shots but not as consistently as in Rope. (In spite of the many plaudits the innovation earned the director, filming proved a nightmare for all concerned, and Hitchcock used the method again only in part of his next film, Under Capricorn.)