We don't need a play-by-play for a familiar action to us (the audience), only give us play-by-plays when some divergence from the normal appears and is relevant.
This works because familiarity is a contract between writer and reader. If we already know how a door opens or how a car starts, spelling out each motion insults the reader's intelligence and drains momentum from the story. The interesting information is always the deviation — the door that sticks, the car that won't turn over on the one morning it matters. Skip straight to that. Say "she left for work" rather than narrating her shoes, her coat, her keys, unless one of those details is about to matter later. The caution: don't swing so far the other way that you compress every scene into summary. Some familiar actions deserve a beat of texture precisely because slowing down signals importance, tension, or character. The skill isn't cutting detail everywhere — it's noticing which moments are actually asking for your attention.
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