Daniel Vincent Gordh discusses his Lizzie Bennet Diaries audition, his involvement in new series Welcome to Sanditon, and more, in part 2 of our exclusive interview.

In part 1 of our interview, Daniel Vincent Gordh gave us the inside scoop on “Gratitude” – episode 99 of The Lizzie Bennet Diaries, as well as his personal experiences on playing one of the most popular characters in fiction, and how he developed that steamy onscreen chemistry with co-star Ashley Clements.

In part 2 he shares about his Darcy audition, answers your twitter questions, and tells us exactly what he would do with an army of Daniel Vincent Gordh clones.

Hypable’s interview with Daniel Vincent Gordh:

Can you talk us through your audition process?

That was a long time ago. I first learned about the show because I was working with a friend on an audition for Caroline. But once I had an audition, I was like “Wait a second. Isn’t Darcy a big part in this? How could they not have cast him yet? I was working on that audition a long time ago.” And then once I looked at the project I was like, “Oh, they still haven’t shown him.”

But I got the script, it was some version of episode 60, and I luckily had enough time to go into research mode, I immediately went okay, this is based on something that has been around a long time, and so I need to spend a few days just in absorption and research mode. So I did that, I gathered all the information, I worked the hell out of the audition, and then I came in. Ashley [Clements, Lizzie Bennet] was actually in the room, which I didn’t know and I was a little awkward about it. I was like, “Hey! I’ve seen you on the internet!” and she was like “…Okay.”

It was kind of funny because once I started working on the role, I felt this instinctive connection to it, where there were a number of things that were mentioned in the breakdown that felt really right for me, that really resonated with me. There was the physical description which they put in and which matched me. Then there was a weird mixture of confident and socially awkward, and somehow I was like I get this character – so I had an instinctive connection to it.

And then once I first read with Ashley, Bernie [Su, co-creator, executive producer, head writer, directer] looked at me for a second kind of quizzically, and was like “That was really good. You obviously understand the character really well. Let’s just do it again, was there anything you wanted to do different?” And I was like “There’s a moment that I’d like to go through and finesse,” so we ran it again, and Bernie to me always felt like “Huh. He seems to get it.”

Then I came in for another audition with a different version of episode 60, and episode 78, which they gave me with about 10 minutes to prepare so I cold read that one. But that was a month later, I thought I had lost the role already, it was a long time between auditions. That one went great too, and then it was a few weeks and I assumed I had lost it again, and I had another audition. At that point I could tell they were being very careful, that it really mattered who they cast.

It’s funny, because it happens on the show too, but usually when you’re working on a project, you don’t have these long hiatuses between playing a role. But there were months where I was not playing Darcy sometimes, and I was like “Well I hope I’m doing the same thing I was doing before.” There was these hiatuses where I was given a break from it, and I had to rediscover him every time.

So eventually I got the role, and it was probably the same day that I find out that a possibly recurring role on the show 1600 Penn, that I didn’t get the role. So I was like, “Okay, well, that’s nice.” I had been written out of that episode, I was thinking “Oh shucks,” and then “Oh wow.” It was one of those close the window, open the door type of things.

You mentioned the hiatuses – did you have any tricks to get back into Darcy’s head, or was it fairly instinctual?

I think the first thing that gets me into the Darcy mindset is physicality. I couldn’t play the role if I were wearing loose fitting clothing, and my shirt not tucked in. The first thing that is my entrance point to the character is physicality, which is often how I work. But for Darcy, that really puts me there quickly. It’s like I’m putting on a Darcy suit. There’s a certain kind of mannered and specific way that he moves and he interacts with the world, that allows me to get into the role instinctually without going straight into cerebral mode.

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Starz has decided that their original programming can compete with the other hot shows airing on Sunday nights.

Network CEO Chris Albrecht has told THR that they are planning on moving all of their original shows including Outlander, Ash Vs Evil Dead, and Black Sails — which currently air on Saturdays — to Sundays. The move will begin July 17 with the Starz series Power. Outlander will likely not move to Sundays until next season.

“Sundays are a prestige night and we feel our shows are definitely going to be very competitive, not just in viewership but in the attention-getting business on Sundays,” Albrecht said to THR, “So it made sense to move.”

Outlander and Starz’s other original series will be going up against tough competition, including AMC’s The Walking Dead and HBO’s Game of Thrones. Albrecht says part of the reason he wanted to move the shows was to make sure they were part of the watercooler talk on Monday mornings.

THR notes that Showtime’s original series typically get DVR’d, “growing 214 percent [in viewership] during the course of a week.” This would suggest that a lot of people aren’t sitting in front of a TV on Saturdays and want to watch the shows on a different day of the week. So, moving their programming to Sundays may not impact overall viewership numbers much.

Starz recently overtook Showtime as the second-most subscribed to cable channel. HBO still sits at number one, though all three are facing tough competition from Netflix.

Disney has set its sights on another live-action retelling of an animated classic: The Little Mermaid.

Deadline reports that the studio “recently heard a new take and are currently evaluating whether to proceed with the idea,” and “discussions have also taken place with some major producers, including some with a strong connection to the studio.”

That’s all we know for now. A “new take” makes it sound like they could be contemplating an alternate story than the one we saw in the 1989 animated classic, but I’d personally prefer a direct adaptation. I want to see live-action Ariel sing some of the Disney classics! Jon Favreau’s The Jungle Book has spoiled me.

Like Beauty and the Beast, The Little Mermaid is one of Disney’s most beloved animated movies, so expectations for a live-action adaptation will immediately be set very high. With their recent adaptation of The Jungle Book hitting theaters to very positive reviews and the first trailer for their live-action Beauty and the Beast being very well received, it wouldn’t be shocking to see Disney start to look at other potential animated properties for source material. (But you would’ve expected to hear about a live-action Lion King before Little Mermaid after The Jungle Book’s success, wouldn’t you?)

The Little Mermaid is the latest in a long line of animated-to-live action projects in the works at Disney. Others include an Aladdin spinoff looking at the Genie’s origins, The Jungle Cruise starring Dwayne Johnson, Dumbo with director Tim Burton, Mary Poppins with Lin-Manuel Miranda and Emily Blunt, and Tinker Bell with Reese Witherspoon. And then there are sequels to the adaptations like Maleficent 2 and The Jungle Book 2.

Be sure to cross The Little Mermaid off your animated-to-live-action bingo card.

Do you think Disney can pull off a live-action ‘Little Mermaid’?

With Donald Trump’s presidency looking less and less like a joke, these high-profile authors and writers believe the time for silence is over.

Over 400 authors have signed a petition to keep Donald Trump out of the White House.

The petition, titled “An open letter to the American people,” was written by Andrew Altschul and Mark Slouka. It unequivocally states that Trump must not become President of the United States, and explains why writers in particular are worried about the power of his empty words and fear-mongering rhetoric.

Signed by the likes of Stephen King, Junot Diaz, Daniel Handler (Lemony Snicket), Cheryl Strayed, Colm Tóibín and Jennifer Egan, the open letter lays out reasons for openly opposing Trump’s candidacy, which they believe “appeals to the basest and most violent elements in society.”

The letter states:

“Because, as writers, we are particularly aware of the many ways that language can be abused in the name of power;

Because we believe that any democracy worthy of the name rests on pluralism, welcomes principled disagreement, and achieves consensus through reasoned debate;

Because American history, despite periods of nativism and bigotry, has from the first been a grand experiment in bringing people of different backgrounds together, not pitting them against one another;

Because the history of dictatorship is the history of manipulation and division, demagoguery and lies;

Because the search for justice is predicated on a respect for the truth;

Because we believe that knowledge, experience, flexibility, and historical awareness are indispensable in a leader;

Because neither wealth nor celebrity qualifies anyone to speak for the United States, to lead its military, to maintain its alliances, or to represent its people;

Because the rise of a political candidate who deliberately appeals to the basest and most violent elements in society, who encourages aggression among his followers, shouts down opponents, intimidates dissenters, and denigrates women and minorities, demands, from each of us, an immediate and forceful response;

For all these reasons, we, the undersigned, as a matter of conscience, oppose, unequivocally, the candidacy of Donald J. Trump for the Presidency of the United States.”

While there are plenty of arguments for why Trump should not receive as much media coverage as he gets, we have to acknowledge the seriousness of the situation when some of the country’s most respected artists take such a powerful stance as this.

The petition has been signed by over 7,000 people so far, and you can add your name to the list right here.

You can find out more about the group of writers who oppose Trump on Twitter, at @WritersOnTrump.