A lot has been written about the aesthetics of film, examining the way in which a film looks on screen, treating a framed shot as the art. Although that is an important aspect to the examination of a film's presentation, it is still only a single part of a greater whole. Whether or not a film is able to create a believable universe of discourse depends not only upon the individual components but in how the pieces come together as a unified whole.

The differentiating factor of an atmospheric film is the deliberate use of each of the disparate elements. Relying upon a single aspect of the production to convey a film's desired effect often leaves the audience unconvinced. It is not enough for the director to rely solely upon the audience's willing suspension of disbelief; the director must actively build a world in which the audience completely believes. This universe which the filmmaker has crafted, in order to be as convincing as possible, must be completely internally consistent. The score, soundtrack, acting, production design, and editing must all compliment each other, adding to the overall atmosphere of the film.

Examining the production design of Ridley Scott's Blade Runner it is immediately apparent that nothing the audience sees (and hears) was left to chance. The scene during which Rick Deckard (Harrison Ford) interrogates Rachael (Sean Young) is a beautiful example of the careful interweaving of the various aspects of film. While the lighting conveys a sense of agoraphobic openness, the soundtrack presents an underpinning to the vast, sterile conference room, all of which is tied together with a masterful score by Vangelis.