This is honestly why I liked your script for "that story in the San Juan Islands" that you let me read a decade ago, or whenever it was. It just started. Things began happening. I started reading and the "worldbuilding" part evolved around the action. Weird shit made sense on the next page, because of what happened on the previous page. I got rolled up into the story, and the world evolved around the story. Juxtapose that with so many other fledgling writers that fancy themselves "world builder", who spend 30 pages telling the reader how the world works, just to set up the one "clever" scene where the character ties all these weird threads together to solve the problem. BORING. PREDICTABLE.
There was nothing unusual about that script. That's how you do it. There was a "script guru" back in the early '00s who made the argument that every single first draft that had ever been written could improve simply by ditching the first 30 pages. Beginning writers have this urgent need to explain all the cool shit they've thought of and hang up all the bangles and shine all the sparkles and backstory the ever loving fuck out of the poor dumb bastard making $15 to read this thing and write 1000 words on why it sucks and they don't realize that THE AUDIENCE OWES YOU FUCKALL. Then you get into novels and shit is even more brutal: The rule William Goldman, Blake Snyder and Syd Field all used is "you have ten pages to hook your audience." The rule Sol Stein uses is "they're going to pick your book off the shelf, open it, start reading the first page and if you don't have them hooked by the time they flip to page two you lose." Star Wars - the whole fucking thing - is "He fought with your father in the Clone Wars." Someone once wrote JRR Tolkien to ask what lay beyond the mountains of Mordor. He wrote her back to say "madam, if I told you, you would simply ask 'well what lays beyond that?' What is important is that I know what lies beyond the mountains of Mordor, not that you do." There's a five page document that goes with that script. It lays out the next nine movies. It was created at the request of a collaborator. I fuckin' well know that world but nobody else needs to until there's a story happening in it.
There are a lot of authors out there who publicly talk about what they want writing to be, not what writing is. Mr. "sit at the typewriter and bleed" tried out 26 different titles for A Farewell to Arms, finally settling on number 12. There is science to it, and there are methods that make you more successful, but they tend to be unfun. I've beta-tested for Final Draft for like fifteen years now and there was a time when they'd tell you that the "want to be a screenwriter" market is substantially more lucrative than the "screenwriter" market but since that's bad for business, they keep it on the downlow. Multiply by every other creative profession.