Foley to be wise
Foley artists have long been accustomed to putting sound effects on things which don’t make sounds. Examples ~
A standard one is when characters walk on grass. This is pretty well noiseless in reality, apart from conceivably a dull impact sound when the person walking is George Dzundza, but in Hollywood movies the action is accompanied by the soft scrunching of foley artists lightly treading on shredded paper, to suggest the leafy damage.
A more specific, and crazy example: in PREDATOR II, a group of characters move through a dark, misty interior, sweeping their flashlights to and fro. The beams of light cut through the icy condensation with an audible whooshing sound.
Or take THE EVIL DEAD — Sam Raimi puts his camera directly overhead, filming through the slats of the old shack’s ceiling, and travels with a character down below. As the slats blur past the lens, they make an appropriately woody voush sound — even though it’s our perspective that’s moving, not the slats.
In the same imaginative spirit, I would like to propose that every time a movie features a closeup of Leonardo DiCaprio frowning, we could have some rusty whirring and clanking noises. You know, just to really sell it.