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Exclusive: Kyle Lowder Talks New Movie The Godfather Buck

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Kyle Lowder in The Godfather Buck

In the new drama, The Godfather Buck, two brothers uncover hidden family secrets during a yearly hunting trip in the woods. The film was written and produced by co-star Frederick Keeve (CITY OF LIES), who portrays the misogynistic and homophobic, Dan. The more level-headed and empathetic character of Steve is portrayed by Kyle Lowder, best known for his Emmy-nominated work on the daytime drama, Days of Our Lives, as well as his work on The Bold and the Beautiful.

It was Lowder’s previous work with director Thomas Churchill that landed him the role in The Godfather Buck. “

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I worked with [Thomas] on a couple of other films, and when he came on originally as a producer, Frederick and Tom were talking about it, and Tom said, ‘You know, I have a guy in mind that might work for this role,’” says Lowder. “So, Tom facilitated the meeting between Frederick and me. “We went out to lunch, and we talked about the film, and it was something I really wanted to do because I knew it was going to be a ridiculous challenge for me, and I love that.”

While much of the focus in The Godfather Buck

is on self-exploration and self-awareness, it also leans heavily into toxic masculinity, which Lowder was very relevant to today. “The film addresses two opposing viewpoints on many, many different topics,” says Lowder. “Dan, who is a very prejudiced character, comes on strong with everything from his politics to his opinions on what men should be. And then you have Stephen, who is counteracting that in terms of being a little bit more compassionate, a little bit more open to people wanting to be what they want to be having the right to be what they want to be.”

“I believe that the dialogue exchange both with what is said, and how it is said, really lends a voice to having two diametrically opposing viewpoints on any given subject, and still have mutual respect at the same time,” Lowder continues. “I believe that that is what we need more of in this world. I’m not trying to be on a soapbox right now or be self-righteous at all. I just think the film does a great job of two brothers getting together who really don’t agree on a lot of things, if anything, really. But to be able to say, ‘You know, I respect where you’re coming from, and I love you anyway.’ That said, I believe that Steven needed to be the voice of reason. I humbly believe that some of what Dan says is just plain wrong,”

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Lowder understands, however, that there is a segment of the population that may not agree with the morality presented by his character Steven, instead of siding with the misogynistic and homophobic views of Dan. “II think that that’s why the film is in your face,” he says. “Frederick did a great job of writing a film that was going to make a lot of people uncomfortable. He didn’t write it to make people uncomfortable, mind you, but I think he just what is said in the film is stuff that is really said behind closed doors between people. Now it’s just kind of out there, and it forces people to say, ‘Wow, which side am I on? Which side do I believe in?’ Nothing’s right or wrong, good or bad. It just is. But it brings a lot of these very touchy sensitive subjects to light.”

The Godfather Buck has a heavy dialogue-driven script, though that’s nothing new for Lowder, coming from the world of daytime drama. “I think to a lot of actors, reading that script for the first time would have been overwhelming,” says Lowder. “It read like a play. Typically, films might have one or two very dialogue-heavy scenes, but a lot of it is very visual. On a show like Days of our Lives, you’ll have twenty pages of dialogue a day. Daytime drama absolutely prepared me for the sheer amount of dialogue, which I’m so grateful for. There’s nothing worse than trying to be authentic and organic in a scene while trying to remember what you’re saying.” Lowder’s stage experience also helped with the amount of dialogue, though he notes that they are very different experiences. “On stage, you have sometimes months of rehearsal, and your performance becomes subconscious. For this film, I really dove into each scene the night before we shot it.”

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