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Katee Sackhoff and her story with Bo Katan in Star Wars

Katee Sackhoff is undoubtedly one of the actresses who receives the most affection from the geek community not only in conventions around the world but in digital life. And although her followers may not be the same amount that a Brie Larson or Anne Hathaway would have, their loyalty to the actress is at the levels of the great Hollywood stars.

Sackhoff was made geek recognition thanks to the reboot of the series Battlestar galactica in 2004, in which she played Kara Trace, aka Starbuck, a character that in the original show would be played by a man (Dirk Benedict), but like the whole series in general, it became a resounding success.

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He has participated in series such as 24, CSI The Flash and also lent his voice in 2012 to Bo Katan, a former member of the Mandalorians known as Death Watch in the animated series Star Wars Clone Wars, Later his character would also appear in Star Wars Rebels .

Her character made the leap into live action in the second season of The Mandalorian, where, thanks to the geek gods, she played it herself, being a unique case within the franchise where an animated character is acted in the flesh by the same person that gives it a voice.

We exclusively spoke with the actress who plays Bo Katan in the second season of The Mandalorian and how good or bad acting advice can make a difference in an artist’s psychology.

CP: You have done the voice of Bo Katan for a while, how does the fact that you can do it in the flesh now change?

Is very crazy. You always have dreams as an actor. I feel a dream that I can do this for a living, it still blows my mind. There are dreams that sometimes are bigger than others, bigger than the opportunities you will have, and for me giving the voice to a character in Clone Wars was a great opportunity to be part of a universe that I grew up idolizing and to be able to share it with my nephews, who have never been able to see anything he had done. When The Mandalorian was announced it had this little voice in me wondering if Bo Katan could exist in that world and that timeline. Then I saw Dave Filoni (writer of Clone Wars and Rebels) at Star Wars Celebration where they showed a clip from the last season of Clone Wars, and I made a joke about whether Bo could be in The Mandalorian, to which he gave me an answer. kind of ‘you never know’. Then I had a call with Jon Favreau to meet him and that’s when the shock really hit me. It took me about 20 minutes into the talk to realize that they offered me that role. It blew my mind that they allowed me to do this.

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You were under the direction of Bryce Dallas Howard, what was it like working with her?

I met Bryce five years earlier. It was very little, but I visited a set where someone I knew was working and she was also in the movie, but we connected very quickly. I remember saying to the person who was visiting ‘you know, I really wish we were friends Bryce and I, in the end we also have mutual friends’. One of my best friends went to college with her, so there was some connection. When we started working, it was important for me to do it with someone with whom I not only felt comfortable but who understood the actor, because for me the success of transferring the character to flesh and blood was vital. Bryce helped me understand Bo and gave me confidence. I was nervous and insecure, a part of me doubted if I could do it, but she helped me find a voice and made me more confident on set. Bryce is a champion.

In the past I had said that giving voice to Bo Katan, since you have an Italian part, you move a lot in the recording studio. How did you work that in the part of acting in the flesh?

For me, for better or for worse, I can’t hide that I make a lot of gestures, I can’t hide that, that’s me Katee Sackhoff. That doesn’t work for someone like Bo Katan, who has so many things on his mind, so many plans and thoughts, but you can’t see it. For me I had to find confidence and realize that for Bo Katan, being on stage was enough to keep his attention. Obviously I had a lot of conversations with Jon Favreau so that I would have confidence with the character. Directors can often have conversations that are harmful in the long run, because they can say things you do that you don’t realize are your own. He had a very beautiful way of explaining it and helping me see the strength in Bo Katan’s stillness, but what could have gone very wrong in the hands of another director.

When I was 28, a television producer told me that I moved my hands a lot and that it was very distracting, so if I could just sit on my hands that would be great. And that I opened my mouth wide when I spoke, that I was not attractive, that I wanted me not to. I remember being shocked and calling my agent to ask him if he did that a lot, and he said ‘Yeah, but it’s your tic, it’s the way you are and that’s fine.’ I did not work for two years, because I was very, very aware of what I was doing with my gestures, I was young and very impressionable. And now that I look back at it, what a cruel way to make an artist see something like that, you know? That comment could have come from a better place, but it was said in a horrible way.

But something like that, in the hands of Jon, helped me understand it and simplify it in a better way, because he is also an actor. He helped me understand that Bo exists here and not there, advised me to watch the takes and rehearsals to just know. And that empowers you as an actor, being able to see your face and the faces you make. Jon cares, and that is very rewarding.

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In a Q&A on your YouTube channel you mentioned that one of your favorite movies is the western High Noon. And The Mandalorian is clearly a western in space, what do you think the western genre has that the creators love so much?

One of the things I love most about the old western is its rhythm. I think the rhythm in a movie is very important to the story. I think that we are already very used to a fast pace passing in front of you all the time, only fleeting attention because we have very short attention spans that everything must be fast. I think one of the things I love about High Noon is that you know how the movie is going to end, you know it all the time, the whole movie, and you still can’t take your eyes off the screen, it’s so beautiful with a great beat And I think that’s something The Mandalorian does very well. It allows you to enjoy those pauses and connect emotionally with the situation before moving on to the next moment, and that is important. That’s what a movie is, and sometimes we’ve already stopped doing it these days and I think that’s one of the reasons why I love High Noon and that fits perfectly with The Mandalorian as well.

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Sergio López Aguirre Stanley Kubrick once said “To have a broader vision, not only see good movies, but also the bad ones” obviously I listened to him in the second and it is very funny.