It’s not difficult to find things to talk about with Lowell, from his plethora of projects to his record collection to the family photos and bookshelves decorating his apartment.
We spoke with him last week about almost everything. Did most of your friends from home go to University of Georgia?
Probably everything I’m wearing right now is in that film.
In that sense, it feels like the lines are blurred a little bit. I think it was a really brave movie in how Maggie [Kiley], the director, wasn’t afraid to not have my character be a squeaky-clean hero.
Gabe took me out one day and he gave me this Lykke M3 camera and taught me how to use it.
There’s no light meter on it, so he taught me how to read the light.
[But] since the film was announced, they’ve been hyping up the love triangle and I’m getting a lot more nervous about going into a crowd of .
Even to use the word story is too much, because it really breaks all narrative rules, it just sort of moves.
When I was 16 years old, my geography teacher was going back to Kenya for the summer and was going to take anyone who wanted to go with him, so I spent the summer in Kenya. BROWN: Is anyone else in your family in the industry? Most of my friends are the people that I grew up with back in Georgia. ” And I remember all the kids picking their chosen career paths and I was thinking, If I’m an actor I can be an astronaut was my first audition ever. She was like, “We’ll send you out on a couple of auditions—we’ll see if you’re ready yet.
It was a very different way to grow up—especially in the South. I’m the oldest, and then there’s my brother Andrew, twin sisters, and a baby sister. BROWN: Did you tease them when you were younger—tell them outlandish tales? It’s really helpful to be surrounded by a world that’s bigger than the entertainment industry. Maybe we’ll hold you back and you’ll go to some classes.” So they sent me on this pilot audition, which at the time was called BROWN: That’s the name of the Melvin Burgess book it’s based on. So I went in for the audition, got a callback, got another callback, and then a producer session, and then a studio [session].
It all happened really quickly—and that was a great thing, and also kind of a curse.
I think the reason I actually booked the job was that I had no sense of the stakes. I remember being at my network test, waiting around—which is the worst part; typically that’s when people psych themselves out—and I was doing French homework. The producers of the show, one of them was this amazing photographer, Gabe Sachs.