I had to make it swaggery because there's no way a woman working her way up as a trial lawyer could have gotten as high as she did without swagger. Also Chris Darden wrote in his book that "You could hear Marcia Clarkâs high heels from twenty feet away, clicking on the tile floor in her purposeful, arrogant walk." which I've decided to interpret as swagger. :D
What's so interesting too is that while I can portray the juxtaposition of public and private through the show, that Marcia Clark said in an interview that in the court scenes, Sarah Paulson was able to show so much more emotion than she was able to do so when she was living it.
THE SHIPPING PART. I spent so much time on that to make sure everything was ON THE BEAT. But then I would watch and start giggling to myself because I felt so ridiculous and happy at the same time. (And the twirl! THE TWIRL! And their faces!)
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
(no subject)
Date: 2016-08-03 11:21 pm (UTC)I had to make it swaggery because there's no way a woman working her way up as a trial lawyer could have gotten as high as she did without swagger. Also Chris Darden wrote in his book that "You could hear Marcia Clarkâs high heels from twenty feet away, clicking on the tile floor in her purposeful, arrogant walk." which I've decided to interpret as swagger. :D
What's so interesting too is that while I can portray the juxtaposition of public and private through the show, that Marcia Clark said in an interview that in the court scenes, Sarah Paulson was able to show so much more emotion than she was able to do so when she was living it.
THE SHIPPING PART. I spent so much time on that to make sure everything was ON THE BEAT. But then I would watch and start giggling to myself because I felt so ridiculous and happy at the same time. (And the twirl! THE TWIRL! And their faces!)