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Template:SW Character Jabba the Hutt is a fictional character in George Lucas's science fiction saga Star Wars. He first appeared on film in Star Wars Episode VI: Return of the Jedi (1983) as an obese, slug-like non-humanoid lifeform, and later in the re-release of Star Wars Episode IV. Jabba was originally portrayed by an immense latex puppet, but in later releases he is a computer-generated image (CGI). Besides the films, Jabba the Hutt is featured in Star Wars literature and is sometimes referenced by his full name, Jabba Desijljic Tiure.

He is a 600-year-old Hutt crime lord and gangster who employs a retinue of criminals, bounty hunters, smugglers, assassins, and bodyguards to operate his criminal empire. Jabba the Hutt's palace on the desert planet Tatooine is a former monastery for a group of mystics known as the B'omarr monks. There, he keeps a host of entertainers, slaves, droids, and alien creatures at his disposal. Jabba has a grim sense of humor, a bellicose laugh, an insatiable appetite, and an affinity for gambling, slave girls, and torture.

The character was incorporated into the Star Wars merchandising campaign that corresponded with the theatrical release of Return of the Jedi. Jabba the Hutt's image has since played an influential role in popular culture, particularly in the United States. His name is used as a satirical literary device and a political caricature to underscore negative qualities such as morbid obesity and corruption.

Appearances

Although a relatively minor character in Star Wars fiction, Jabba the Hutt has appeared in three of the six Star Wars films. The character has a recurring role in Expanded Universe literature and is the protagonist of the comic book anthology Jabba the Hutt: The Art of the Deal (1998), a collection of comics published between 1995 and 1996.

Star Wars films

Jabba the Hutt is mentioned in Star Wars Episode IV: A New Hope (1977) and Star Wars Episode V: The Empire Strikes Back (1980), but his first appearance on film was in 1983 with the third installment of the original Star Wars trilogy, Return of the Jedi. Directed by Richard Marquand and written by Lawrence Kasdan and George Lucas, the first act of Return of the Jedi features the attempts of Princess Leia Organa (Carrie Fisher), the Wookiee Chewbacca (Peter Mayhew), and Jedi knight Luke Skywalker (Mark Hamill) to rescue their friend, Han Solo (Harrison Ford), who had been imprisoned in carbonite in the events of the previous film.

The captured Han is delivered to Jabba by the bounty hunter Boba Fett (Jeremy Bulloch) and placed on display in the crime lord's throne room. Lando Calrissian (Billy Dee Williams), droids C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker), Leia, and Chewbacca manage to infiltrate Jabba's palace as part of a plot to save Han. Shortly after Leia herself is captured and enslaved by the Hutt, Luke arrives to "bargain for Solo's life". Luke, however, is dropped into the pit of the monstrous rancor, just below Jabba's throne room. After Luke slays the beast, Jabba condemns Luke, Han, and Chewbacca to a slow death in the belly of the Sarlacc, a large alien creature in Tatooine's Dune Sea. The execution turns into a skirmish at the Great Pit of Carkoon where Luke escapes execution with the help of R2-D2 and defeats Jabba's guards. During the subsequent confusion, Leia strangles the Hutt to death with her slave chains. Luke, Leia, C-3PO, and R2-D2 escape just before Jabba's sail barge explodes, killing all inside.

The second film appearance of Jabba the Hutt is in the Special Edition of A New Hope, which was released in 1997 to commemorate the 20th anniversary of the original Star Wars. Han Solo has a confrontation in a Mos Eisley cantina with an alien bounty hunter named Greedo (Paul Blake and Maria De Aragon) that ends with Greedo's death, even though Greedo shoots first. Jabba had hired Han to smuggle the illicit drug spice from the planet Kessel. Han, however, was forced to dump his cargo when an Imperial search team boarded the Millennium Falcon, Han's ship. Greedo tells Han, "Jabba's put a price on your head so large, every bounty hunter in the galaxy will be looking for you." In a scene that had been cut from the 1977 original, Jabba and an entourage of bounty hunters are seen in a hangar bay outside the Millennium Falcon, trying to find the smuggler. Jabba confirms Greedo's last words and demands that Han pay the value of the shipment. Han promises to compensate Jabba as soon as he receives payment for delivering "goods" — Obi-Wan Kenobi (Alec Guiness), Luke Skywalker, R2-D2, and C-3PO — to the planet Alderaan. Jabba warns Han that if he is not paid back soon, he will post a bounty "so big, you won't be able to go near a civilized system." Han ends up joining the Rebel Alliance by the end of the film, however, and never completes his deal with the Hutt.

Jabba the Hutt's final film appearance is in the 1999 prequel, Star Wars Episode I: The Phantom Menace. The character's scene is minor and has little to do with the plot of the film. During the Boonta Eve Classic podrace at Mos Espa on Tatooine, in which nine-year-old slave Anakin Skywalker (Jake Lloyd) wins his freedom by outracing his competitors, Jabba the Hutt is featured in his grandstand accompanied by Gardulla the Hutt (a Hutt female) and his Twi'lek majordomo Bib Fortuna (Matthew Wood). Although he is the host of the race, Jabba is totally uninterested and even dozes off, missing the race's conclusion.

Star Wars literature

The first appearances of Jabba the Hutt in Star Wars Expanded Universe literature was in Marvel Comics's non-canonical adaptations of A New Hope. Six Against the Galaxy (1977) by Roy Thomas and What Ever Happened to Jabba the Hut? (1979) and In Mortal Combat (1980), both by Archie Goodwin, depict Jabba the Hutt (originally spelled Hut) as a tall humanoid with a walrus-like face, a topknot, and a bright uniform. The Marvel artists based Jabba on a character later named Mosep Binneed, an alien visible only briefly in the Mos Eisley cantina scene of A New Hope. The 1977 mass market paperback novelization of George Lucas's Star Wars script describes Jabba as a "great mobile tub of muscle and suet topped by a shaggy scarred skull", but gives no further detail as to the character's physical appearance or species.

Later Expanded Universe novels and comics adopt the character's image as seen in the film. They also elaborate on his background prior to the events of the Star Wars films. For example, Zorba the Hutt's Revenge (1992), a young adult novel by Paul and Hollace Davids, reveals that Jabba's father is a powerful crime lord called Zorba the Hutt and that Jabba was born in the Star Wars year 596 BBY, making him around 600 years old at the time of his death in Return of the Jedi. Science fiction writer Ann C. Crispin's novel The Hutt Gambit (1997) explains how Jabba the Hutt and Han Solo become business associates and tells of the events that lead to a bounty being placed on Han's head. Other Expanded Universe stories—especially the anthology of Dark Horse comics by Jim Woodring titled Jabba the Hutt: The Art of the Deal (1998)—likewise detail Jabba the Hutt's rise to the head of the Desilijic clan, his role in the criminal underworld of the Star Wars universe, and the establishment of his crime syndicate on Tatooine in the Star Wars galaxy's Outer Rim Territories.

Tales from Jabba's Palace (1996), a collection of short stories edited by science fiction author Kevin J. Anderson, pieces together the lives of Jabba the Hutt's various minions in his palace and their relationship to him during the last days of his life. The stories reveal that few of the Hutt's henchmen were loyal to him and most were in fact plotting to have him assassinated. When Jabba the Hutt is killed at the Great Pit of Carkoon, those who survive the conflict along with Jabba's rivals on Tatooine and his family on the Hutt homeworld Nal Hutta make claims to his palace, fortune, and criminal empire. Timothy Zahn's novel Heir to the Empire (1991) tells that a smuggler named Talon Karrde eventually replaces Jabba as the "big fish in the pond", as Zahn puts it, and moves the headquarters of the Hutt's criminal empire off Tatooine.

Characteristics

According to film historian Murray Pomerance, Jabba the Hutt's many flaws include vice, lust, greed, and gluttony. The character is known throughout the Stars Wars universe as a "vile gangster" who amuses himself by torturing and humiliating his subjects and enemies. He surrounds himself with scantily-clad slave girls of all species, chaining many of them to his dais. The Star Wars Databank — an official online database of Star Wars information — remarks that residents of his palace are not safe from his desire to dominate and torture. Jabba would send even his most loyal servants and prized possessions to their deaths. For example, in Return of the Jedi, the alien slave dancer Oola is fed to the rancor monster because she fails to satisfy his lust.

Jabba the Hutt's physical appearance is as grotesque as his character and reinforces his personality as a criminal deviant. As Han Solo puts it in Return of the Jedi, Jabba is a "slimy piece of worm-ridden filth." Film critic Roger Ebert describes him as "a cross between a toad and the Cheshire Cat", and astrophysicist and science fiction writer Jeanne Cavelos gives Jabba the "award for most disgusting alien." Science fiction authors Tom and Martha Veitch write that Jabba's body is a "miasmic mass" of flesh that shakes as he laughs. He emits an unmistakable smell: "The Hutt's lardaceous body seemed to periodically release a greasy discharge, sending fresh waves of rotten stench" into the air. His swollen tongue drips with saliva as he feeds on creatures that resemble frogs and maggots. Jabba's appetite is insatiable and he is not discriminatory about his diet. For example, his court jester, the Kowakian monkey-lizard Salacious Crumb, must make the Hutt crime lord laugh once a day, every day, or Jabba will eat him.

Jabba the Hutt does show rare moments of charity, however. For instance, in one Expanded Universe story, he prevents a Chevin named Ephant Mon from freezing to death on an ice planet by covering him with his bloated layers of fat; the two are eventually rescued, and Ephant Mon becomes totally loyal to the crime lord, making him the only resident of Jabba's palace that the crime lord trusts.

Concept and creation

Jabba the Hutt's appearance underwent several changes between different versions of the films. The shift in the concept of Jabba the Hutt from a furry creature to a slug and from a puppet to CGI represent two of the more glaring changes to the character in the concept and creation process.

Episode IV: A New Hope

The original script to A New Hope describes Jabba as a "fat, slug-like creature with eyes on extended feelers and a huge ugly mouth", but Lucas stated in an interview that the initial character he had in mind was much furrier and resembled a Wookiee. When filming the scene between Han Solo and Jabba in 1976, Lucas employed Northern Irish actor Declan Mulholland to play the stand-in and read Jabba the Hutt's lines wearing a shaggy brown suit. Lucas planned to replace Mulholland in post-production with a stop-motion creature. The scene was meant to connect A New Hope to Return of the Jedi and explain why Han Solo was imprisoned at the end of The Empire Strikes Back. Nevertheless, Lucas decided to leave the scene out of the final film on account of budget and time constraints and because he felt that it did not enhance the film's plot.

Lucas revisited the scene in the 1997 Special Edition release of A New Hope, restoring the sequence and replacing Mulholland with a CGI version of Jabba the Hutt and the English dialogue with Huttese, a fictional language created by sound designer Ben Burtt. Joseph Letteri, the visual effects supervisor for the Special Edition, explained that the ultimate goal of the revised scene was to make it look as if Jabba the Hutt was actually on the set talking to and acting with Harrison Ford and that the crew had merely photographed it. Letteri stated that the new scene consisted of five shots that took over a year to complete. The scene was polished further for the 2004 release on DVD, improving Jabba's appearance with advancements in CGI techniques, although neither release looks exactly like the original Jabba the Hutt puppet.

Lucas confesses that some people were upset about the CGI Jabba's appearance, most complaining that the character (and others like it) "looked fake". Lucas dismisses this, stating that whether a character is portrayed as a puppet or as CGI, it will always be "fake" since the character is not real. He says he sees no difference between a puppet made of latex and one generated by a computer. The CGI character performed actions that the puppet could not, such as walking. Jabba's film appearance in The Phantom Menace was as a CGI based on the character from A New Hope.

Episode VI: Return of the Jedi

Lucas based the CGI on the character as he originally appeared in Return of the Jedi. In this film, Jabba the Hutt is an immense, sedentary, slug-like creature designed by Lucas' Industrial Light and Magic Creature Shop. Design consultant Ralph McQuarrie claimed, "In my sketches Jabba was huge, agile, sort of an apelike figure. But then the design went into another direction, and Jabba became more like a worm kind of creature." According to the 1985 documentary From Star Wars to Jedi, Lucas rejected initial designs of the character. One made Jabba appear too human — almost like a Fu Manchu character — while a second made him look too snail-like. Lucas finally settled on a design that was a hybrid of the two. Return of the Jedi costume designer Nilo Rodis-Jamero commented,

My vision of Jabba was literally Orson Welles when he was older. I saw him as a very refined man. Most of the villians we like are very smart people. But Phil Tippett kept imagining him as some kind of slug, almost like in Alice in Wonderland. At one time he sculpted a creature that looked like a slug that's smoking. I kept thinking I must be really off, but eventually that's where it led up to."

Designed by visual effects artist Phil Tippett, Jabba the Hutt was inspired by the anatomy of several animal species. His body structure and reproductive processes were based on annelid worms, hairless animals that have no skeleton and are hermaphroditic. Jabba's head was modeled after that of a snake, complete with bulbous, slit-pupilled eyes and a mouth that opens wide enough to swallow large prey. His skin was given moist, amphibian qualities. Jabba's design would come to represent almost all members of the Hutt species in subsequent Star Wars fiction.

In Return of the Jedi, Jabba is portrayed by a one-ton puppet that took three months and half a million dollars to construct. While filming the movie, the puppet had its own makeup artist. The puppet required three puppeteers to operate, making it one of the largest ever used in a motion picture. Stuart Freeborn designed the puppet, while John Coppinger sculpted its latex, clay, and foam pieces. Puppeteers included David Alan Barclay, Toby Philpott, and Mike Edmonds, who were members of Jim Henson's Muppet group. Barclay operated the right arm and mouth and read the character's English dialogue, while Philpott controlled the left arm, head, and tongue. Edmonds, the shortest of the three men (he also played the Ewok Logray in later scenes) was responsible for the movement of Jabba's tail. The eyes and facial expressions were operated by radio control.

Lucas voiced displeasure in the puppet's appearance and immobility, complaining that the puppet had to be moved around the set to film different scenes. In the DVD commentary to the Special Edition of Return of the Jedi, Lucas notes that if the technology had been available in 1983, Jabba the Hutt would have been a CGI character similar to the one that appears in the Special Edition scene of A New Hope.

Jabba the Hutt only speaks Huttese on film, but his lines are subtitled for audience comprehension. His voice and Huttese-language dialogue were performed by voice actor Larry Ward, whose work is listed in the end credits. A heavy, booming quality was given to Ward's voice by pitching it an octave lower than normal and processing it through a sub-harmonic generator. A soundtrack was recorded to accompany the movement of the puppet's limbs and mouth. The sound effects were created by a hand running through a bowl of cheese casserole and a muddy towel scraping along the inside of a garbage can.

Jabba the Hutt's musical theme throughout the film, composed by John Williams, is played on a tuba. One reviewer of Return of the Jedi's soundtrack comments, "Among the new thematic ideas Jabba the Hutt's cute tuba piece (playing along the politically incorrect lines of tubas representing fatness) ...." Williams later turned the theme into a symphonic piece performed by the Boston Pops Orchestra featuring a tuba solo by Chester Schmitz. The role of the piece in film and popular culture has become a focus of study by musicologists such as Gerald Sloan, who says Williams's piece "blends the monstrous and the lyrical."

According to film historian Laurent Bourzereau, Jabba the Hutt's death in Return of the Jedi was suggested by script writer Lawrence Kasdan. Lucas decided Leia should strangle him with her slave chain. He was inspired by a scene from The Godfather (1972) where an obese character named Luca Brasi (Lenny Montana) is garroted by an assassin.

Jabba the Hutt in popular culture

With the premiere of Return of Jedi in 1983 and the accompanying merchandising campaign, Jabba the Hutt became an icon in American popular culture. The character was produced and marketed as a series of action figure playsets by Kenner/Hasbro from 1983 to 2004. In the 1990s, Jabba the Hutt became the protagonist in his own comic book series collectively titled Jabba the Hutt: The Art of the Deal.

Jabba's role in popular culture extends beyond the Star Wars universe and its fans. In Mel Brooks' Star Wars spoof Spaceballs (1987), Jabba the Hutt is parodied as "Pizza the Hutt," a cheesy blob shaped like a slice of pizza whose name is a double pun on Jabba the Hutt and the restaurant franchise Pizza Hut. Like Jabba, Pizza the Hutt is a loan shark and mobster. The character is mentioned as meeting his demise at the end of Spaceballs when he "became locked in his car and ate himself to death".

In 1999's Deuce Bigalow: Male Gigolo, a morbidly obese woman is dubbed by T.J. (Eddie Griffin) as "Jabba the Slut."

On Late Night With Conan O' Brian, Jabba is mocked with characters such as Liposuctioned Jabba The Hutt, and most recently, Jabba The Foxworthy.

In the hit TV series, Lost, James "Sawyer" Ford frequently refers to Hurley as Jabba.

The Smithsonian Institution's National Air and Space Museum in Washington, D.C., included a display on Jabba the Hutt in the temporary exhibition Star Wars: The Myth of Magic, which closed in 1999. Jabba's display was called "The Hero's Return," referencing Luke Skywalker's journey toward becoming a Jedi.

Jabba the Hutt in mass media

Since the release of Return of the Jedi, the name Jabba the Hutt has become synonymous in American mass media with obesity and corruption. The name is frequently utilized as a literary device — either as a simile or metaphor — to illustrate character flaws. For example, in Under the Duvet (2001), Marian Keyes references a problem with gluttony when she writes, "wheel out the birthday cake, I feel a Jabba the Hutt moment coming on." Likewise, in the novel Steps and Exes: A Novel of Family (2000), Laura Kalpakian uses Jabba the Hutt to emphasize the weight of a character's father: "The girls used to call Janice's parents Jabba the Hutt and the Wookie . But then Jabba (Janice's father) died, and it didn't seem right to speak of the dead on those terms."

In The Dharma of Star Wars (2005), Matthew Bortolin attempts to show similarities between Buddhist teachings and aspects of Star Wars fiction. Bartolin insists that if a person makes decisions that Jabba the Hutt would make, then that person is not practicing the proper spiritual concept of dharma. Bortolin's book reinforces the idea that Jabba's name is synonymous with negativity:

One way to see if we are practicing right livelihood is to compare our trade with that of Jabba the Hutt. Jabba has his fat, stubby fingers in many of the pots that led to the dark side. He dealt largely in illegal "spice" trade—an illicit drug in the Star Wars galaxy. He also transacts business in the slave trade. He has many slaves himself, and some he fed to the Rancor, a creature he kept caged and tormented in his dungeon. Jabba uses deception and violence to maintain his position.

Outside literature, the character's name has become an insulting term of disparagement. To say that someone "looks like Jabba the Hutt" is commonly understood as a slur to impugn that person's weight and/or appearance. The term is often employed by the media as an attack on prominent figures. For instance, actress and comedian Roseanne endured what W. C. Goodman called "vitriolic attacks based on her weight" at the hands of New York Observer columnist Michael Thomas, who often compared her with "Star Wars blob monster" Jabba the Hutt. In an episode of the animated television series South Park titled "Starvin' Marvin in Space" that aired in 1999, Christian Children's Fund spokeswoman Sally Struthers is portrayed as the Hutt and accused of gorging herself on food relief meant for starving Ethiopians.

In another sense of the term, Jabba the Hutt has come to represent greed and anarchy, especially in the business world. For instance, Michael Jordan biographer Mitchell Krugel uses the term to disparage Chicago Bulls's general manager Jerry Krause after Krause made a comment about Jordan and other players' multi-million dollar contracts: "Krause added to his Jabba the Hutt image during the media gathering that preceded the opening of camp when he answered a question about the prospect of rebuilding the Bulls without Phil or Michael in the imminent future by saying, 'Organizations win championships. Players and coaches are parts of organizations'."

Jabba the Hutt has likewise become a popular means of caricature in the world of American politics. For example, opponents of California Democratic legislator Jackie Goldberg depict the politician as the Star Wars character. The Los Angeles Daily News has caricatured her in cartoons as a grotesquely overweight Jabba the Hutt-like figure and the New Times LA referred to Goldberg as "a human Jabba the Hutt who consumes the good while producing the bad." William G. Ouchi uses the term to describe what he sees as the ineffecient bureaucracy of the American public school system: "With all of these unnecessary layers of organizational fat, school districts have come to resemble Jabba the Hutt—the pirate leader in Star Wars."

Notes

1. ^ "Jabba Desilijic Tiure (Jabba the Hutt)", in Sansweet, Star Wars Encyclopedia, pp. 146-147.
2. ^ For example, see "Fat Wars: The Obesity Empire Strikes Back" at Center for Consumer Freedom; last accessed July 3 2006.
3. ^ Koenraad Kuiper, "Star Wars: An Imperial Myth," Journal of Popular Culture 21.4 (Spring 1988): p. 78.
4. ^ Star Wars Episode VI: Return of the Jedi (DVD, 20th Century Fox, 2005), disc 1.
5. Star Wars Episode IV: A New Hope, Special Edition (DVD, 20th Century Fox, 2005), disc 1.
6. Star Wars Episode I: The Phantom Menace (DVD, 20th Century Fox, 1999), disc 1.
7. "Mos Espa Grand Arena" at the Star Wars Databank; last accessed July 3 2006.
8. Roy Thomas, Marvel Star Wars #2: Six Against the Galaxy (Marvel, August 1977).
9. Archie Goodwin, Marvel Star Wars #28: What Ever Happened to Jabba the Hut? (Marvel, October 1979).
10. Archie Goodwin, Marvel Star Wars #37: In Mortal Combat (Marvel, July 1980).
11. ^ Jabba the Hutt, Behind the Scenes, Star Wars Databank; last accessed July 3, 2006.
12. George Lucas, Star Wars: From the Adventures of Luke Skywalker (paperback; New York: Del Rey, 1977), p. 107, ISBN 0-345-26079-1.
13. Paul Davids and Hollace Davids, Zorba the Hutt's Revenge (New York: Bantam Spectra, 1992), ISBN 0-553-15889-9.
14. A. C. Crispin, The Hutt Gambit (New York: Bantam Spectra, 1997), ISBN 0-553-57416-7.
15. Jim Woodring, Jabba the Hutt: The Art of the Deal (Dark Horse Comics, 1998), ISBN 1-56971-310-3.
16. Kevin J. Anderson, ed., Tales from Jabba's Palace (paperback; New York: Bantam Spectra, 1996), ISBN 0-553-56815-9.
17. Timothy Zahn, Heir to the Empire (paperback; New York: Bantam Spectra, 1991), p. 27, ISBN 0-553-29612-4.
18. Murray Pomerance, "Hitchcock and the Dramaturgy of Screen Violence", in Steven Jay Schneider, ed., New Hollywood Violence (Manchester, Eng.: Manchester University Press, 2004), p. 47, ISBN 0-7190-6723-5.
19. From the title crawl of Star Wars Episode VI: Return of the Jedi; also a description from the Return of the Jedi novelization at Del Rey; last accessed July 3, 2006.
20. Cite error: The named reference JabbaDatabank was invoked but never defined (see the help page).
21. Kathy Tyers, "A Time to Mourn, A Time to Dance: Oola's Tale", in Anderson, ed., Tales from Jabba's Palace, p. 80.
22. Roger Ebert, review of Return of the Jedi, Chicago Sun-Times, 25 May 1983, at RogerEbert.com; last accessed July 3, 2006.
23. Jeanne Cavelos, "Just Because It Goes 'Ho Ho Ho' Doesn't Mean It's Santa", The Science of Star Wars: An Astrophysicist's Independent Examination of Space Travel, Aliens, Planets, and Robots as Portrayed in the Star Wars Films and Books (New York: St. Martin's Press, 1999), p. 57, ISBN 0-312-20958-4.
24. Tom Veitch and Martha Veitch, "A Hunter's Fate: Greedo's Tale", in Kevin J. Anderson, ed., Tales from the Mos Eisley Cantina (paperback; New York: Bantam Spectra, 1995), pp. 49-53, ISBN 0-553-56468-4.
25. Ryder Windham, This Crumb for Hire, in A Decade of Dark Horse #2 (Dark Horse Comics, 1996).
26. Esther M. Friesner, "That's Entertainment: The Tale of Salacious Crumb", in Anderson, ed., Tales from Jabba's Palace, pp. 60-79.
27. Ephant Mon, Expanded Universe Star Wars Databank; last accessed July 3, 2006.
28. George Lucas interview, Star Wars Episode IV: A New Hope, Special Edition (VHS, 20th Century-Fox, 1997).
29. George Lucas commentary, Star Wars Episode IV: A New Hope, Special Edition (DVD, 20th Century-Fox, 2004).
30. Joseph Letteri interview, Star Wars Episode IV: A New Hope, Special Edition (VHS, 20th Century-Fox, 1997).
31. "A New Hope: Special Edition - What has changed?: Jabba the Hutt", 15 January 1997, at StarWars.com; last accessed July 3, 2006.
32. "Star Wars: The Changes - Part One" at DVDActic.com; last accessed July 3, 2006.
33. ^ George Lucas commentary, Star Wars Episode VI: Return of the Jedi, Special Edition (DVD, 20th Century-Fox, 2004).
34. Ralph McQuarrie, quoted in Laurent Bouzereau, Star Wars: The Annotated Screenplays (New York: Del Rey, 1997), p. 239, ISBN 0-345-40981-7.
35. ^ From Star Wars to Jedi: The Making of a Saga, narrated by Mark Hamill (1985; VHS, CBS Fox Video, 1992).
36. Nilo Rodis-Jamero, quoted in Bouzereau, Annotated Screenplays, p. 239.
37. Biography of Phil Tippett at StarWars.com; last accessed July 3, 2006.
38. Cite error: The named reference HuttSansweet was invoked but never defined (see the help page).
39. Larry Ward at the Internet Movie Database; last accessed July 3, 2006.
40. Tomlinson Holman, Sound for Film and Television (Burlington, Mass.: Focal Press, 2002), p. 11, ISBN 0-240-80453-8.
41. Ben Burtt commentary, Star Wars Episode VI: Return of the Jedi, Special Edition (DVD, 20th Century-Fox, 2004).
42. Review of Return of the Jedi soundtrack by Filmtracks.com; last accessed July 3, 2006.
43. Gerald Sloan, "Yuba Meets Jabba: The Expanding Role of Tuba in Film Music", TUBA Journal, quoted in "Evening The Score: UA Professor Explores Tuba Music In Film", 27 June 2000, at University of Arkansas Daily Digest; last accessed July 3, 2006.
44. Bourezeau, Annoted Screenplays, p. 259.
45. A complete Jabba the Hutt playset sold by Kenner in 1983 was valued at $70 in 2003 by collectors if in mint condition and with original packaging. See Geoffrey T Carlton, Star Wars Super Collector's Wish Book: Identification & Values (Paducah, Ky.: Collector Books, 2003), p. 13, ISBN 1-57432-334-2.
46. Richard von Busack, "Jabba the Hutt slimes his way through a new graphic novel," review of Jabba the Hutt: The Art of the Deal at Metroactive Books; last accessed July 3, 2006.
47. Mel Brooks, Spaceballs (MGM, 1987).
48. "The Hero's Return", Star Wars: The Myth of Magic exhibition at National Air and Space Museum; last accessed July 3, 2006.
49. Marian Keyes, Under the Duvet: Shoes, Reviews, Having the Blues, Builders, Babies, Families and Other Calamities (New York: HarperCollins, 2001), p. 199, ISBN 0-06-056208-0.
50. Laura Kalpakian, Steps and Exes: A Novel of Family (New York: HarperCollins, 2000), p. 58, ISBN 0-380-80659-2.
51. Matthew Bortolin, The Dharma of Star Wars (Somerville, Mass.: Wisdom Publications, 2005), p. 139, ISBN 0-86171-497-0.
52. W. C. Goodman, The Invisible Woman: Confronting Weight Prejudice in America (Carlsbad Calif.: Gürze Books, 1995), p. 57, ISBN 0-936077-10-7.
53. "Starvin' Marvin in Space", Episode 311, South Park, 17 November 1999 (DVD, Paramount, 2003).
54. Mitchell Krugel, One Last Shot: The Story of Michael Jordan's Comeback (New York: St. Martin's Press, 2003), p. 55, ISBN 0-312-99223-8.
55. Patrick Mallon, California Dictatorship (Philadelphia: Xlibris, 2004), p. 235, ISBN 1-4134-6797-0.
56. William G. Ouchi, Making Schools Work: A Revolutionary Plan to Get Your Children the Education They Need (New York: Simon and Schuster, 2003), p. 96, ISBN 0-7432-4630-6.

Further reading

• Mangels, Andy. The Essential Guide to Characters. New York: Del Rey, 1995. ISBN 0-345-39535-2.
• Reynolds, David West. Star Wars Episode I: The Visual Dictionary. New York: DK Publishing, 1999. ISBN 0-7894-4701-0.
• Wallace, Daniel. The New Essential Guide to Characters. New York: Del Rey, 2002. ISBN 0-345-44900-2.
• Wallace, Daniel, and Kevin J. Anderson. The New Essential Chronology. New York: Del Rey, 2005. ISBN 0-345-49053-3.
• Wixted, Martin. Star Wars Galaxy Guide 7: Mos Eisley. Honesdale, Penn.: West End Games, 1993. ISBN 0-87431-187-X.

External links

• Jabba the Hutt at the Star Wars Databank.
• Jabba the Hutt on Wookieepedia, The Star Wars Wiki

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