These structures are, like Russian Matreshkas, relative to each other. Language is another example for such a structure. Words make a sentence, and some sentences build up, for instance, a letter. The letter can be part of a book, and, at the same time, the used words can be divided into syllables, letters, or phonemes. The theoretical creativity has no frontiers and can cope with contradictions.
    
Not so the practitioner’s. He needs to be able to act and needs an uncomplicated concept of the things he is doing. He cannot stop at the idea that every scene is a potential sequence and every sequence a hidden script. Surprisingly, the structure-idea is functional in manifold ways, not only on a theoretical level but also for almost all sorts of participants in the production and perception of films.

Scenes and sequences are functional structures or structuring elements in at least five pragmatic senses:

First of all, our perception is also structured into scenes and sequences that you can view upon from many angles. The first day of school is still present, as a scene, for many people. The years before can be perceived of as one sequence. Smell, colours, or paths of actions interconnect memory sequences and scenes. Similarly, the final scene and some others of Fight Club as well as the unity of action stay in mind, by far not everything of the film.