Tucker gives Bitter Lawyer an exclusive sneak peek of his own opinion of his own movie about him:

BL: Do you feel like the hilarity of your written work translated well into a movie?
TM: Fuck yes. The movie is absolutely drop-dead hilarious. Wait until you see it, you will laugh your ass off.

There you fucking have it. Tucker also notes that he cast the actor that plays him based on his "likability and redeemability," for unexplained reasons.

An actual non-Tucker review of Alcohol and Fruit of the Looms Go Together Like Grilled Cheese and Mail Order Brides, TK.

[Previously: The script of this shitty movie, Parts One and Two. Pic: Flickr]

Writes Binelli:

In person, Pitt is warm and funny, but is also, at least while he's being interviewed, an extremely fidgety guy. He paces. He musses his hair. He tears little pieces of dried apricot into smaller pieces before popping them into his mouth. He rubs his knee so intensely it brings to mind Lennie from Of Mice and Men petting a rabbit. All of this might have to do with the fact that, despite his repeatedly proven talents as an actor, Pitt remains, for a large number of people, a creature primarily of tabloid fascination. Did he cheat on his ex-wife with his current partner? Will they have another biological child? What war-ravaged destination might they visit next? Does the mustache make him look hot or porn-y?

As for the interview, Binelli gets Pitt to spill about his work, his life, and his thoughts — and there are some revelations.

On Pitt's crappy movies, like The Devil's Own and Meet Joe Black:

"I got lost in the wilderness of fame a bit. There are all of these opportunities you're supposed to be taking. And I got really discombobulated."

On growing up in a religious community:

"I just found it so stifling, my religion. I know it's very comforting for other people. And it was too much of what you shouldn't be doing instead of what you could be doing. I get enraged when people start telling other people how to live their lives. It drives me mental. This Prop. 8 thing just drives me mental."

On his new film, The Curious Case of Benjamin Button:

"I find Benjamin is about those universal things we all share — that 95 percent that makes us all the same, wherever we are in the world. Our loves, our hopes, but also the loss that we all walk around with and hide very well, and the ultimate notion that we're all expendable. To me, it's a counterstatement to this divisive period we've been in, where we focused on the two, three, four, five percent of ways in which we're different."

On the future:

"I have this fantasy of my older days, painting or sculpting or making things. I have this fantasy of a bike trip to Chile. I have this fantasy of flying into Morocco. But right now, more and more, it's about getting the work done and getting home to family. I have an adventure every morning, getting up."

One has to wonder, is this a man who gets bored easily? Who loves being on the go? Who dreams of never slowing down? Who dreams of never settling down? And with six kids — and possibly two more on the way — is his family "adventure" enough?

Brad Pitt: The Rolling Stone Interview [Rolling Stone]

It makes all the sense in the world. Really! Just ask him.

"It's a lingering sensation," Korine told Defamer in a recent interview. "I just started thinking of images like nuns riding bicycles out of airplanes — doing tricks in the clouds and stuff. I couldn't figure out where that was coming from. So if I was going to tell a story with nuns jumping out of airplanes, what could it mean? And I thought, 'What if they had no parachutes? What if they just believed enough that they would survive?' It's the same way the impersonators willed themselves to be those people. Maybe both stories speak to the idea of faith and a kind of strange magic in things — wanting to be something other than who you are."

Opening today in New York and May 9 in Los Angeles, Mister Lonely is in part Korine's way of both rationalizing and perpetuating that magic. More immediately, it's the meandering tale of a Michael Jackson impersonator in Paris (Diego Luna) who steals away to a colony of other impersonators sequestered in a Scottish castle. Led by Marilyn Monroe (Samantha Morton) and her misanthropic husband Charlie Chaplin, the remaining characters evoke Korine's '90s antagonisms Gummo and Julien Donkey-Boy without leaning on their bleak dispossession.

"They had to be people who, in real life, I've liked and admired," he said, referring to an ensemble including Abraham Lincoln, the Three Stooges, Madonna, Queen Elizabeth II and Sammy Davis Jr. "Someone whose mythology I could bleed into the narrative of the movie. Or I could take Marilyn's depression or Sammy's sadism or Michael and his ethereal, bizarre nature and incorporate that into the storyline."

But their celebrity was essential, Korine added, hinting at a sort of accidental accessibility he hadn't achieved since scripting Kids in 1995. Most important was his conception of — or even his sympathy for — Michael Jackson himself. "Michael was symbolic of the world's greatest eccentric," he said. "Maybe somewhere in his story is the Greatest American Story Ever Told. It would take someone much smarter than me to tell that story or decipher it. But what I liked about him was what he stood for. He wasn't a man; he wasn't a boy. He wasn't black; he wasn't white. He just existed like a ghost to me. He was all of those things and none of them. I liked that idea."

Then there were the nuns, plummeting in prayer with powder-blue habits billowing behind them. Korine's friend and Julien Donkey-Boy cast alumnus Werner Herzog plays the wasted priest channeling God, urging them toward the miracle of survival. Korine hinted at the connections between narratives, but acknowledged only the sense in senselessness.

"There's not really a point to it," he said. "There hasn't really been to anything I've done. They're more just ideas. If I could express it in words, I don't think I'd film it. I'm trying to figure it out myself." Iron Man, eat your heart out.

Defamer: It's well known that Jason Segel shows his dick in this movie. What was it like on those days of the shoot?
Nick Stoller: Well, Jason wanted to make sure his penis wasn't too small because it was cold in the studio. But it was a fine line, because having an erection while getting dumped wouldn't really read as truthful. So, he would be backstage with "materials" provided to him by the prop master, and then would he would yell, "I'm ready, I'm ready," and then come running out, and we'd shoot.

D: Was he ever too hard to shoot a scene?
NS: No, he wasn't. His problem was that he couldn't get...uh, I don't know if 'hard' is the right word for it—more like a semi-chub. He didn't feel like he got to that place. To me, it always looked like a totally normal penis, but then again, I wasn't the one showing it.

D: At any time during the filming of this movie, did you get to see Mila Kunis or Kristen Bell naked? I know they're not naked in the movie, but did you get to see it?
NS: No, they always wore pasties. They were actually very cool about all that stuff. They just didn't want it to end up on the Internet. Plus, it would have freaked them out if I were trying to sneak around their dressing room. It wouldn't instill that trust you need as a director.

D: Richard Roeper said your movie made his list of the 50 funniest comedies of all time. What was it like to blow him?
NS: He's a gentle lover. Very generous in bed. He gave back. It wasn't just a one-way street.

D: How did your involvement with Judd Apatow get started? How did you work your way up in the ranks of the Apatow offices?
NS: Of Apatown, you mean? Well, I started out by writing on Undeclared—his college show. And from there I wrote a few screenplays with him. And then, I've been friends with Jason Segel forever, so I offered to guide him through the writing process [of F.S.M.] if he would support me as a director. And he said yes, and suddenly it was all happening.

D: But why did they trust a first-timer like you to direct this movie?
NS: I have no idea. Early on I said that I would just be very up-front with the fact that I didn't know what I was doing. I wasn't gonna lie at all, and I just decided to ask everyone questions.

D: What's a typical day like in Apatown?
NS: Everyone walks around with their penises out. I should just say it. We all have our dicks out all day. That's really what it is. Judd has what we call The Apatower in West LA, and you go there for meetings, but for the most part, everyone writes at home. And then we go to the meetings and all take our dicks out.

D: So, who has the biggest dick in Apatown?
NS: I'm contractually obligated to say Judd. But really it's me.

D: How involved is Judd in the movies he produces?
NS: He's very involved in the writing and casting. And having done this once, those two elements seem like the most important parts of a movie. Especially a comedy. And he's heavily involved in post. He's only around a little bit for production, but his producing partner Shauna Robertson is often on set. Basically, Judd creates a zone where we can kind of just do what we want. But, ultimately, he's very involved and wants to make sure that each movie hits some central truth.

D: Did you get into any arguments with him?
NS: Uh, no. We have a really good working relationship. He's very respectful and understands that I'm directing the thing. There were certain moments where I would insist upon a joke or a line and he would say, "Well, it's your movie. You can do it." But I've learned over the years that he's more right than wrong.

D: What is the test screening process like? Did you get any annoying notes from the studio? Anything crazy on the comment cards?
NS: Because Judd's so powerful right now, the studio was pretty hands off. As for comment cards, it ranged from audiences being way too savvy and literally talking about whether the movie would have appeal in the 18-25 demographic to being pretty dumb. The funniest ones were from guys in the audience who were so mad at having to see Jason Segel's penis, but in a homoerotic way. They were like, "Why do we have to see his penis for so long? I hate looking at his penis. It makes me want to make out with my roommate."

D: Well, I've seen them both, and I truly believe that Forgetting Sarah Marshall is better and funnier than Knocked Up. So, are you a better director than Judd Apatow?
NS: Ha. No comment. Judd, I think, is one of the best comedy directors ever. All of the things I employed on Forgetting Sarah Marshall, I learned from him.

D: How much of your current success comes from luck and knowing the right people versus actually working hard?
NS: The door opens, and you're very lucky when the door opens, but you do also have to be prepared. I would say it's about 1% hard work and 99% good luck. Though I do try to work a lot and be prepared for any kind of opportunity that presents itself.

D: Your career has just entered the next level. You're a big man in Hollywood right now. So, what does that feel like? Are people kissing your ass?
NS: Not as much as I'd hoped they would be. But we'll see. It all depends on opening weekend.

D: Forgetting Sarah Marshall opens on April 18th. Here's what else is coming out that day: 88 Minutes (the Al Pacino movie), The Forbidden Kingdom (the Jackie Chan/Jet Li flick), and Where in the World is Osama Bin Laden? (the Morgan Spurlock doc). Why should people go see your movie over the competition?
NS: First I would go to 88 Minutes, then if I still had time I would go to see the Spurlock documentary, then I would see mine, and then I would see The Forbidden Kingdom. And then I'd see Smart People. But really, much like it's important to see a big action movie in the theater, it's nice to see a good comedy in a movie theater because everyone is laughing and having fun together.

D: What does it feel like to have a major movie opening this weekend? Are you gonna check BoxOfficeMojo every second?
NS: It's really odd. With the moviemaking process, you start out really intense and it slowly trickles off as you do post and stuff. So now, I haven't really worked on it in a while. I've just been doing press. It kind of feels like the movie came out already because I've watched it so many times. But then I wake up in the middle of the night very nervous because I realize it's coming out Friday.

D: You and I have known each other for a very long time. That's why, as a testament to our friendship, I want you to give me a scoop about your upcoming Muppet movie that will set the Internet afire.
NS: You know it's kind of all been said. It's gonna be an old school Muppet movie like The Great Muppet Caper or Muppets Take Manhattan. Basically the Muppets have to put on a show to save their studio. And in the intervening years, there's been a Muppet Diaspora, so the main Muppets need to go off with Jason [Segel] and collect other Muppets from all around the world. We're in the middle of writing it now. We're on page 50.

D: Alright, one last question. How awesome is Iron Man gonna be?
NS: So awesome!

[Photo Credit: Getty Images]

Forgetting Sarah Marshall opens in theaters today (April 18th). Do yourself a favor and go see it.