THE SKINNY ON PHAT GIRLZ
Screenwriter Nnegest Likké had always wanted to create a story about plus-size women. For her, they represented a segment of the movie going public that was usually being lampooned by Hollywood when it wasn't being completely ignored.
"All the stories out there were either spoofing plus-size people or making them look like buffoons," says Likké. "I wanted to write a comedy, but not something that made fun, or couldn't be taken seriously in some ways."
Once Likké had her goal defined, she faced a new obstacle. "Unfortunately, I had no actor," she says, "and I didn't want anybody in a fat suit."
Then her mother introduced her to a 2001 DVD called THE QUEENS OF COMEDY and the brash, bawdy comedy of Mo'Nique. The actress, who has had roles in the films DOMINO, SOUL PLANE and BABY BOY, gained attention and praise for her portrayal of Nicole "Nikki" Parker on the popular UPN comedy series "The Parkers" for five years.
"When I saw Mo'Nique in the QUEENS OF COMEDY I knew I had found my vehicle so I wrote the script with her in mind," says Likké. "I knew she would bring that loveable, comedic, sexy sassiness to the table that I needed my main character to have."
At the time, Likké was working--and earning good money--as a writer and segment producer on a hit reality TV show. "During my hiatus, I decided I wasn't going back. After I saw Mo'Nique, I said, 'I'm going to write this script, and I'm just going to pray to God that I can find her, get her the script, and that she'll love it.' Then she and I would go to the studios."
Likké's spirit was indomitable. "I knew that if I wrote the script, and if I could just get to her, this could happen," she says.
It would take three years, but Likké did write the script and eventually got it into the star's hands. But first, Likké needed a creative and financial backer. She met with producer Bobby Newmyer, who has produced such films as TRAINING DAY and THE SANTA CLAUSE films at the offices of his company, Outlaw Productions.
"It was incredible," Likké says reflecting on she and Newmyer's first meeting which lasted a whopping four hours. "We had an instant soul mate connection and it was strangely beautiful. Who'd have thought this young, black woman from the projects and this 48 year old, privileged, Jewish white man from Bel Air would have anything in common?" she says. "We talked about everything in that meeting, even about my father being from Ethiopia and my various trips to Africa, and then I found out he was working on a project about Africa called THE LOST BOYS OF THE SUDAN. The coincidences were overwhelming."
In another fortuitous coincidence, Newmyer and Likké discovered they had stumbled upon Mo'Nique at the same time in the same way - by seeing her in THE QUEENS OF COMEDY - and they both instantly fell in love with her and knew they wanted to do a project with her. Likké immediately began writing the script PHAT GIRLZ and a year later, it brought her and Newmyer together.
Newmyer then told Likké, he wanted to shoot PHAT GIRLZ on the then experimental HD digital video instead of film (in order to cut the budget in half) and asked her if she wanted to direct it.
"The best that I was hoping for at this meeting was that he'd say, 'I want to buy your script and I want to produce your movie,' says Likké. "I was shocked speechless when Bobby asked me to direct this film. It was the most surreal moment of my life. My dream was always to direct one day. It was the beginning of an amazing adventure."
The adventure continued when Mo'Nique got the script and fell in love with it--not at lunch with her agent or at a meeting with her manager, but in her bathtub.
"When I first read the script, I was in my bathtub," the actress and comedian admits. "I could not put it down. I was sold. I called Nnegest Likké that night and I said, 'Sister, I read your script. Sign me up. It is brilliant. Somebody finally told the truth.' With this movie, she hits the nail right on the head."
Perhaps the collaboration was destined to be, because Likké was in the shower when she heard that Mo'Nique was signing on to star in the production of her first feature screenplay.
"I didn't know she had gotten the script," recalls Likké. "I was in the shower, and the phone rang. My roommate said, 'Mo'Nique's on the line.' I'm like, 'I don't know a Monique! Monique who!?' I got on the line, and I almost electrocuted myself because it was the real deal Mo'Nique from the Queens of Comedy. She said, 'Sista', I read the script, and I loved it. Have you been following me around?'"
The timing was uncanny--Mo'Nique had just returned from a trip to South Africa. "There, and all over Africa, they love big women," says Likké. "She said when she got there people were screaming at her on the street, 'Marry me! Marry me!' They didn't even know she was a celebrity. It was just because she was plump, and full, and beautiful. And so the script was almost identical to what she had just experienced."
The character of Jazmin Biltmore was one that Mo'Nique couldn't pass up. "Jazmin is outgoing, opinionated, aggressive, and very insecure when you first meet her," explains Mo'Nique. "By the end of this movie, she's outgoing, opinionated, aggressive, and very secure."
"This character is always fighting with the world, screaming, 'I'm here. Accept me. I'm beautiful.' But I also didn't want to stray too far from Mo'Nique's sassy, sexy appeal," says Likké, explaining how she developed the part of Jazmin. "I wanted to create a character who, by the end of the movie, everybody would believe is as beautiful as what they perceive Halle Berry to be."
Likké also wanted to use the character of Jazmin to illustrate the challenges that plus-size women face. "Being a plus size girl myself, it's always been a real challenge to find fashionable clothes," she says. "So the fashion aspect was very important for me to feature in the movie. Who the heck can feel sexy in elastic waisted pants or a muu-muu?"
This frank treatment of how it feels to be plus-size in a "minus size" world was what attracted the outspoken Mo'Nique to the script.
"I so appreciated this script because it came from someone real. It came from someone who's walked the path," she says. "Nnegest wrote this story from her heart, and it comes across. She wrote the words that every fat girl in this country experiences--not just Mo'Nique and Jazmin, but Lisa, and Pam, and Kim, and Michelle, and Rebecca…"
Like Likké, Mo'Nique is no fan of the "fat suit" some actors wear in movies to portray overweight characters. "Normally when they do stories about fat girls, they dress them up in a fat suit," she says. "That actress really doesn't get it, because at the end of the night when they say, 'Cut,' that suit comes off. Our uniforms stay on permanently.
"It's about time someone took a stand and said, 'I'm fat, I'm proud of it, we ain't goin' nowhere,'" she continues. "'Deal with it. If not, we'll walk right over the top of you.'"
Both Mo'Nique and Nnegest Likké credit producer Bobby Newmyer with keeping the faith on the often rocky journey to getting the film made. When investors balked, he mortgaged his house and offered up his childrens' education funds to come up with the money. "He put EVERYTHING on the line to make this movie," says Likké. "He believed in the project, he believed in Mo'Nique, and most incredibly he believed in me - a first timer with no feature film experience who had barely even stepped foot on a real movie set before. Nobody believed that Bobby would win. But he did. He won the Gold for all of us."
Sadly, Newmyer died of a heart attack in December 2005 at the age of 49. "I honor him. He put everything on the line. He put his family on the line for two fat black women with no questions asked," says Mo'Nique. "When I see him on the other side, he's going to get a big hug from me."

FINDING THE PHAT GIRLZ…AND BOYS
With Mo'Nique on board, the process of casting the rest of the roles could begin. As a first time director, Likké was bombarded with advice from show business buddies.
"Most advised me to get well known faces," she says. "But for me, it's all about the character. I believe that audiences will come if your character is strong enough. I am a perfectionist so for me it was key that I found the right person, known or unknown for every single role, including the bit parts."
Next to Mo'Nique, the most important casting decision was the role of Tunde Jonathan, the well-educated, handsome Nigerian doctor who, visiting the U.S. for an international medical convention, falls for Jazmin. It was key to Likké that she find an authentic African man or someone with an authentic African flavor for the role. "I said, 'I don't care if you have to get every actor in Nigeria to fly in,'" says Likké, "'I want to see every potential Tunde until I find the perfect one."
The role was far from garden-variety male romantic lead--the right actor not only had to have an international flavor, but had to be "drop dead gorgeous in a way that didn't seem manufactured in a gym," says Likké. He also had to be strong enough to handle a character like Mo'Nique's Jazmin all while exhibiting an endearing, boyish quality that female audiences could fall in love with.
Several Nigerian actors auditioned for the role but unfortunately they didn't have the right balance of characteristics. "I began to worry if I would ever find him, but then Jimmy walked into the room, and I thought, 'Oh my God, Tunde.' And then when he opened his mouth, I said, thank you Lord, my search is over! There was never any competition," says Likké.
"Jimmy" is Jimmy Jean-Louis, whose own life could be movie material. He led a simple existence in a remote village in Haiti until the age of twelve, when he moved to Paris. Since then he has worked in musical theatre in Spain, has had a successful career as an international model and made a seamless segue way into acting. His credits include episodes of "The Shield" and supporting roles in TEARS OF THE SUN, MONSTER IN LAW, HOLLYWOOD HOMICIDE and THE BOURNE IDENTITY.
Jean-Louis was attracted to the role of Tunde for several reasons. "It's very rare that African characters are portrayed as doctors, or very educated, so I was really happy to play that type of character," he explains. "A lot of people think that you go to Africa and all you see is jungle and a bunch of people running around wild, but that's not true. I think it's a good message for Americans in general."
The actor also couldn't resist his director's gung-ho attitude. "She's so passionate about the project," he says. "Every single moment, you could feel the passion. You couldn't help but go along with her.
"She did a hell of a job," he continues. "She knew what she wanted, and she always made sure she got it."
The casting of Jazmin's plus-size friend, Stacey, proved challenging. "Nnegest wanted someone who could keep up with Mo'Nique without overshadowing her," according to producer, Steven J. Wolfe. "It was very close to the start of production and although many actresses had come in and read for the part, none were quite right."
During the casting process Wolfe kept thinking of his client, Kendra C. Johnson for the role. Although Johnson had appeared in episodes of "The Shield" and "Strong Medicine," she had no feature film credits. However, when she came in and auditioned, it was a consensus, we had found Stacy. She brought a realness and quirkiness to the character that none of the other actresses brought," says Wolfe.
Joyful Drake, who starred in BEAUTY SHOP, signed on as Mo'Nique's 'Perfect 10' cousin. "Kendra C. Johnson and Joyful Drake became my sisters. Kendra's a big girl, so we could relate to the stories of the pains, the triumphs, and the tears," says Mo'Nique. "Joyful is a small girl, but she means no harm. She means no harm putting on that thong. So we dug her for her innocence and for her willingness to learn who we were."
The actor and comedian Godfrey plays Akibo, a fellow doctor and friend of Tunde's who pairs off with Stacey.
Producer Steven J. Wolfe was instrumental in the casting of Eric Roberts (whom he worked with on FAST SOFA) as Robert Myer, the head buyer at the department store where Jazmin works. Wolfe had also previously worked with Jack Noseworthy, Myer's smarmy associate, Dick, on THE CLEAN AND NARROW.

PHAT ON LOCATION
Although PHAT GIRLZ was shot primarily in Palm Springs and Los Angeles, one of the biggest scenes in the movie was shot in New York.
"We knew we didn't have the budget for the Nigerian convention scene," says Likké. "Then we found out at the eleventh hour about a real Nigerian convention that was happening in New York. We called up the Isoko Association, the particular Nigerian tribe that was giving the convention, and they said, 'Come on in, we'd love to have you.'" With that invitation, the production flew in the lead actors and a skeleton crew.
"It's one of the most incredible scenes in the movie because of its authenticity. Every single person in that scene is a Nigerian," says Likké. "I wanted to incorporate all those nuances of African culture, like the dancing, into the film, and we were able to weave that in really well."
Mo'Nique agrees. "That was a great introduction to understanding some of that culture. When we walked into that ballroom, they were so inviting and accepting," she says. "The first scene in New York was something magical."
The production then moved to Palm Springs, where the majority of the film was shot. When Newmyer and Likké first met with Wolfe, the three shared a common bond in wanting to shoot in Palm Springs. Wolfe, who is a part-time resident of the city, had every filming location mapped out in his mind and was able to procure all of his desired shooting locales. The unit filmed mainly at the Westin Rancho Mission Hills.
"They embraced us," says Likké. "Sometimes we'd show up on the set at midnight and work until seven in the morning, and they were very accommodating to our needs and what we wanted. Every location in Palm Springs was wonderful. It's a great place to shoot."
Not all of the actors warmed up to the location--or perhaps they warmed up too much. "It was really, really hot! I would have preferred to be in Africa," says Jimmy Jean-Louis only half-jokingly. "But the people were really nice."
"It was 116 degrees. When they told me it was 116 degrees, I made a promise that day that I would live really good because if Hell is anything like that, there's no way I could survive it," says Mo'Nique. "It was that kind of hot. You were waiting for Satan to come."
Things only got hotter during the scene when Tunde emerges from the pool (at the former Marquee Hotel and Resort) and is first introduced to Jazmin.
Says Mo'Nique: "When Tunde comes out of the pool, the thought in my mind, and in every other female's mind, and maybe some men's minds was, 'Now that's what you call 'eye candy!'' From the head to the toes it looked delicious."
Mo'Nique also gave her co-star some helpful advice after that scene. "I told Jimmy, 'Watch out, 'cause every fat girl in America is going to chase you down the street, baby. I promise you, you're going to have a problem. Tell your wife to get her sneakers on, 'cause ya'll get ready to start running."
Jean-Louis was fond of the scene, too--but for very different reasons. "Thank you Nnegest. I was surrounded by 50 girls. And every time I came out of the pool, they had to actually look at me like I was a piece of meat," he says. "It made me feel pretty special."
The Palm Springs location was chosen mainly for budgetary reasons--and the filmmakers had to make other choices based on the bottom line as well. One concern was where the production would find all of Jazmin's fashion creations. "I wish I could say we had a huge budget and somebody flew all the stuff in," says Likké. "But most of the clothes were Mo'Nique's. Mo'Nique was a huge pleasure to work with in the sense that she was so giving of everything."
"That was one of the challenges of the movie--but I said, 'Have no fear, because I have a wardrobe!' We went through it, and we made it happen," says Mo'Nique. "All of the clothes in the fashion show were pieces from out of my closet. But it was hot, it was sexy--it was what I would want to see big women in to feel good."
Mo'Nique appreciated having a fellow "big woman" on the set in the form of Nnegest Likké. "She's a fat girl, so she knows when we need a break. She knows when to say, 'Cut. They need a Snickers. They're tired.' Now what other director would have cut so I could have a Snickers?" she says. "That's why she had to direct this movie, because she knows what it's like to wear a size fourteen when you're really a sixteen. She got it. I don't know that anyone else would have gotten that."
Looking back on the experience of her first produced screenplay and first directing venture, Likké is proud. "We kicked ass to get this movie done," she says.
Now that the film is complete, Likké and Mo'Nique have even loftier goals. "I hope that when each person walks out of that theater, they love themselves," says Mo'Nique. "I don't care what they look like. I don't care who they are. They could be blind and have one ear, but I hope when they walk out of that theater they say, 'I love me. I'm okay with me.' That's all we're asking, is for you to walk away feeling good about you.
"I think that this movie is going to be a wakeup call for the fat girl," continues the actress. "'Cause the fat girl doesn't believe it. She doesn't believe she can get the man. 'Cause we've been conditioned to believe that we can't. So, now we see we can get the man--and he's fine."
"I wanted to make a comedy that was broad enough to bring in everybody," echoes Likké, "but that had a strong underlying message that said, 'Love yourself, and you will find love.'"

PHAT GIRLZ marks the feature film debut for writer, director Nnegest Likké. Prior to becoming a professionally recognized screenwriter and director, Nnegest worked in television as a Writer and Segment Producer for the hit reality television show "BlindDate."
Likké's other industry experience includes a popular public access talk show she Co-Hosted and Produced for two years. As a Host-Writer-Producer of "The Trace & Negest Show," Nnegest was responsible for writing the show's content and performing the theme song. She also created and updated the show's website, which included a twice weekly relationship advice column.
One of the first female rappers to emerge from her hometown of Oakland, California; Nnegest is intricately familiar with hip-hop culture and continues to perform as a spoken word artist.
Prior to her formal entry into the entertainment industry, Nnegest taught high school English and Drama for four years in the Los Angeles public school system.
Having spent a significant amount of time as a child in her Father's native Ethiopia and Nigeria, Nnegest was able to incorporate her first hand knowledge of African culture into the writing of PHAT GIRLZ.