I think Keiiii put it really well!
There's a bit of advice I liked in Ryan North's wild review of the novelisation of Back To The Future:
So at this point Marty now has to introduce Doc to Lorraine. You can do this the cute way or the charmless way! Movie went for cute:
MARTY: Oh, uh, this is my, uh, Doc – uh, my uncle! …Doc – Brown.
LORRAINE: Hi.
It’s cute because we get that “Marty is bad at keeping his cross-temporal identities straight” thing without being “Mom I mean Lorraine” clunky.
Contrast with the book, which went for oddly charmless:
MARTY: Oh. Uh, this is my Uncle Brown.
LORRAINE: Uncle Brown?
DOC: Emmett.
LORRAINE: Hi.
That’s their entire exchange. It adds nothing and I’m not entirely sure Lorraine, who is supposed to be nervous about even being here, would think to care about Uncle Brown’s first name. But it does teach us a WRITING TIP: if you’ve got a necessary but lifeless scene, it doesn’t hurt to add some character humour to it!
This idea is really helpful to me in scenes where like.... information has to be exchanged, but maybe it's only necessary for the characters, or maybe it's introducing something in the plot or upcoming conflict that we haven't gotten to yet -- if you can make that ALSO a character moment, then it feels a lot more fun and we have more reason to be engaged in and remember it!
So it's not just James going over his chores list with Jenny because the readers need to know what chores James has later in the story -- it's Jenny sternly reminding James that he darn well better actually do his chores this time and not drag his feet like last time, or it's James getting WEIRDLY EXCITED about doing the dishes this week and Jenny being a bit weirded out, or it's James making a bunch of corny jokes about taking the trash out and Jenny rolling her eyes but smiling because she secretly loves this goof.
I think this depends on the scene -- in some scenes this could be a really effective way to focus on the overall moment rather than the specifics; in other scenes, it'd be giving up a valuable opportunity for characterisation, since an overall mood is going to often be more generic than a specific conversation.
If you have a character trying to attend a party while secretly struggling with a personal tragedy, and show a chattering crowd of friends with the character sort of failing to connect despite being surrounded by happy conversation -- not getting caught on the specifics in this scene could work really well. The mood and that feeling of disconnect would become the focus, and it'd be powerful and relatable.
But if you have two characters realising that they're in love while they go on a date, and you leave out the dialogue and just focus on their happy faces, that can make the whole thing less interesting -- we want to know what they see in each other, what did the one guy say, specifically, that made the other guy's face light up? But instead of the interaction of two specific characters, this would become a generic moment of "and then they fell in love," which is way less interesting.