When referring to the word “perspective” in the discipline of sound design, it is almost exclusively explored in the sense of spatial perspectives, meaning the treatment a sound undergoes to match the physical camera position. The writer claims there’s a hindered need for a new lexicon within the film academia as there lies a lack of common language between film practitioners, and film theorists concerning the internal sound perspectives that serve to carry character singularity, culture, and diegesis. Deferred terminology that can be used as a steppingstone to symbolizing meaning along the collaborators of the film arts, while allowing to convey intent behind the conscious and unconscious decisions of sound design. In addition, the model analyses how the significance of sound carried by its receivers(the audience) can be independent from the intent of the sender(the filmmakers). This paper will contextualize our accustomed knowledge on psychoanalysis, semiotics, and sound design, as basis for our main discourse. With the aid of selected scenes from “Arrival”(2016), a film reflective on language and perspectivism, the writer will exemplify the several instances of the use of internal sound perspectives in an attempt to coin the term. With this research the writer will arrive at the conclusion whether the proposed term and methodology is a viable approach for collaborative works.