Keep working on your perception—it will eventually become part of your voice.

Begin by stopping the clock on your car chase example. The cars are in a rush, but the writer is not. So spend some time thinking of all the different angles you could view a car chase from.

Are you a gear head, interested in how the vehicles would perform when pushed to their limits and beyond?

Perhaps you’re into aesthetics, and are more interested in painting the stark contrast between the sleepy fishing village and the vehicles racing through it.

You could be an anarchist, relishing the description of the carnage the vehicles leave in their wakes.

A romantic might be more interested in the thrill the adrenaline will add to the burgeoning subsurface romance already kindling between the driver and their shotgun-riding love interest.

If dialogue is your strength, the entire car chase could serve as a clever backdrop for characters to make big reveals, in the heat of the moment.

I could continue, listing dozens (if not hundreds) of variants, but these should be enough to get you thinking.