Film, being the most energetic form of art, must continually absorb the audience's attention and emotions into a storyline completely detached from the targeted viewers. As another universe unfolds, the script writer must distinguish certain scenes that will serve as a major outline of events; contrasting with those that pry seemingly unimportant details that become vital participants of the overall product. Crafted similarly to an essay, shots must be varied to not seem bland or fade into forgetfulness. Therefore, script editors must congregate amongst the film editors to produce the most visually attractive film. Visionary arts cannot be the sole attribute to a film; the scripting procedures must as intuitive for the audience to fully appreciate the movie. In Spielberg’s Lincoln, the research of the scripting crews are prominent features of the film, accented by the large range of shot types. Shots are rarely static, they constantly search to accumulate emotion. An important static shot, nondiegetic in audio nature, occurs near the beginning; during Lincoln’s reiteration of his address to a group of soldiers. He is situated in a off-centered Medium Shot while he delivers choice quotes of his speech to the collected soldiers. At this moment, he narrates the speech, and it serves as a historical and moral recapitulation of his personal beliefs. Through obvious collaboration between production teams, the film is able to “catch the audience up to speed” and begin the film. Certain metaphorical elements physically surrounding Lincoln, the rain and mud he stands in and upon, are quickly noted and incorporated into the meaning of the piece; a transition visibly insisted upon by the shots and sounds of the particular scene. 
Similar techniques are employed in other recent movies, such as Argo; yet seem to be portrayed further by respect to the overarching role of acting. Nearly tangible emotions are generated through character’s acting, aided by the film composition, yet that are able to stand individually as an insight within the generated filmic world. The morally decaying and constant stress of threat is easily conveyed through the character’s actions, including the audience in the world conflicts of the era.
Finally, any movie must, at a certain point, include an amount of historically-accepted piece of information. It is on this tidbit of knowledge that any form of symbolism is able to arise, as including a small amount of details will further facilitate audience members to become engaged within a movie. In the case of Argo and Lincoln, this is a prominent feature. Nonetheless, this attention to detail is present in many films, and seems to be the root of the success of any movie.
Combined, these three elements are the basis of filmmaking, and contribute to an improved experience for the audience.
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