The flying vehicles bring about some sense of environmental degradation and disorder in the city. This occurrence brings into the audience's mind frame metaphoric and inevitable future environmental changes. Conversely, the earth is presented as broken and abandoned by the piles of trash, constant puddles and crumbling walls, which results in the migration of its inhabitants to other colonies. The torrential rain in the city represents the pessimistic view of the world by the elite group. .
Scott further manipulates his audience with his clever framing in which he uses a sharp contrast between low and high camera angles in the preceding shot, 1:29:40 (Bordwell & Thompson, 2013). In his appearance, Deckard was relegated to a mere speck by the high angle camera-position after which his frame suddenly changed to an extreme close-up on his face, after which he is filmed from below, creating an emphasis on power over the elite world. Scot further uses the audio element to emphasize the dichotomy that lies between the unknown and the familiar although the synthetic soundtrack of the film is replaced with snatches of a quick rush of blowing wind. In the entirety of the scene, the ambient sound of trickling rain water reaches the audience as there is no active dialogue amongst them. At 1:29:51, a tense moment is broken by the eerie chant that tunes on a Japanese song from nowhere. As Deckard enters in a trench coat, a loudspeaker above him advertises that off-world colonies present an opportunity to adventure in a golden land (Scott, 1984). The extra-diegetic sound comes from an advertising balloon passing overhead. The new world is suddenly brought into focus by the juxtaposition of the silent building with its garish colors that reveal jarring metaphorical images contrasting the new glittering future and the abandoned lyrics of the ugly, tattered past. The classical and futuristic juxtaposition is further emphasized by the traditional sound of the tune in the new form of the future technology.