Rhys recognises that Evans' expedition was predicated on storytelling; the way we manipulate our cultural identities to create myths that help to alleviate the longing within. From road movie to concert film, the picture uses and skews various cinematic forms - each with their own cultural connotations - to tell the story. Each format is a strand in a broader narrative; if Evans' adventure was the result of legends he'd read, then Rhys' trip becomes another part of the same cycle of storytelling. Along the way, we hear snippets of songs in progress telling the unfinished story of John Evans. The lack of finality is key; the goal here is in the process.
When Rhys meets the descendants of a Missouri tribe with whom Evans stayed for a few months, we begin to see the similarities between the community and the singer's home country. We hear stories of dying languages, battles of cultural relevance and histories of resistance to stronger, more powerful forces. It becomes clear that, in searching for a more perfect Wales, Evans found himself among people subject to similar struggles. American Interior shows the West as an American Arcadia; an ideal that eludes physical place, existing only in the hearts of the adventurers, the prospectors and the pioneers.