The Week(end) In Covers, ScarJo Salutes Serge, Driving Old Dixie Down and More

Hey, it’s only Monday and this weekend had some notable instances of people recording versions of other people’s music.

Scarlett Johansson & Lulu Gainsbourg – "Bonnie & Clyde"

Any father, even one as magnificent and totally nuts as Serge Gainsbourg, would be lucky to have a kid as devoted as his son, Lulu, who is putting out a tribute album to his father to be released this October. To help, he’s enlisted the likes of Johnny Depp and Vanessa Paradis, Iggy Pop and, of course, Scarlett Johansson, who channels her best dark-and-sexy-French-lounge-singer impression to complement Lulu on "Bonnie & Clyde." Have a listen below (via The AV Club):

Glen Hansard, Lisa Hannigan & John Smith – "The Night They Drove Old Dixie Down"

Speaking of The AV Club, the site has been showing their special summer mini-break version of "Undercover," and in today’s installment, three lovely folk artists salute the late, great Levon Helm (still sad) with a mournful and well-intentioned version of "The Night They Drove Old Dixie Down." Glen Hansard always looks like he’s in pain when he’s singing, but it’s hard not to feel some kind of sorrow when thinking about Levon. He and his tourmates commit to the song, and there are some nice harmonies, and the Chicago setting for the video is totally sweet, but really, nothing will ever stack up to Helm’s original. 

Arctic Monkeys – "Come Together" 

The 2012 London Olympics opening ceremonies were a celebration of Britain’s most obvious cultural signifiers: James Bond, Mary Poppins, Harry Potter, corgis, Mr. Bean, The Beatles. The musical selections from the madcap brainchild of Danny Boyle, Stephen Daldry and musical directors Underworld included the latter’s own tracks, the Rolling Stones, Amy Winehouse, Fuck Buttons and appearances from British musicians of past and present, including the likes of Dizzee Rascal, Frank Turner, Emeli Sandé, Paul McCartney and Arctic Monkeys, who did a pretty standard cover of "Come Together" as well as their own hit, "I Bet That You Look Good on the Dancefloor." There’s a video up on Domino’s website of the performance. 

‘Once’ Is Not Enough For Glen Hansard

If you didn’t see the 2007 film Once and die a little bit inside over "Falling Slowly," the love song by then-real life couple Glen Hansard and Marketa Irglova, then you’re not human. But much has changed in the years since. Hansard and Irglova split, Once is now a Broadway show that swept the Tonys, and last week, Hansard debuted his first-ever solo album, Rhythm and Repose.

Hansard fronted a Dublin-based rock band, the Frames, for over 20 years. However, most of the world met him as one-half of The Swell Season, his folk duo with Czech-born Irglova. Together they starred in Once and won the Academy Award for Best Original Song together; a Swell Season documentary captured their touring, as well as their breakup. She has married sound engineer, Tim Iseler, and put out her own solo album, Anar.

To what extent does his very public breakup with Irglova influence the album? He would only say to The New York Times that "Marketa’s in there." He is an another relationship now, one he is keeping private, and suggested that that 42, it might be time for him to settle down, both literally and figuratively:

At some point you need to have a bunch of kids and go live on a farm. That’s the deeper song. That’s when the artist goes to another level. If you’re a dude who’s doing gigs and pulling chicks, still doing that at 55, then, dude, you haven’t gone to the next place. 

Quick—how soon can we get this man on the phone with John Mayer to tell him this?

The Swell Season is currently on "indefinite pause," as Times puts it, but that will hardly matter to diehard fans who are just happy Hansard has finally put out a solo album.  

Markèta Irglová: Star of Movie “Once” on its Move to Broadway

When most 19-year-olds were grinding through midterms, Markèta Irglová was accepting an Oscar for her music in the film Once. Five years later, her passion project is coming to Broadway.

The first time she saw rehearsals for the stage adaptation of Once, Markèta Irglová knew it would be a success. "I simply couldn’t find any faults with it," says the 23-year-old Czech-born singer and songwriter. The musical, which had barely begun its off-Broadway run when it announced its move to Broadway, is the latest iteration of the hit 2006 movie of the same name, a story of unattainable love between two musicians which co-starred Irglová and fellow singer/songwriter Glen Hansard. The stage adaptation of Once is performed by a whole new cast of actors, and the stage itself transformed into a jovial Irish pub. But the music – co-written by Irglová and Hansard and fashioned with heart and soaring melodies –  remains the same. 

"I was always award that that what you do affects those around you, but I was honored to see it affecting other people who worked with it and molded it into their own thing," she says.

Though being a part of the audience is a new experience for Irglová, she welcomes the change. Since being discovered by Hansard at the age of 13, she’s won the Oscar for Best Original Song for "Falling Slowly," toured the world with Hansard under the moniker The Swell Season and, after they ended their two-year relationship, released her solo record, Anar, which she’s currently touring in support of. 

"What’s different is I’m now in a position of leadership,"  Irglová says. "I have to dream everything up and manifest it and put a lot of thought and energy into it, but the rewards are bigger.

Cristin Milioti Leads the Musical ‘Once’ to Broadway

Perhaps you’ve seen her as a cranky bridesmaid on The Sopranos. Or maybe as a pigtailed, threesome-loving writer on 30 Rock. But starting now, you’ll see Cristin Milioti on the Broadway stage as “Girl,” a Czech singer/songwriter in the stage adaptation of the 2007 movie Once. With its Oscar-winning, soaring song  “Falling Slowly,” and powerfully complicated romance, this musical announced its move to Broadway just minutes before its off-Broadway run even began. Here, Cristin Milioti shares all — what’s fresh about the adaptation, her fears about moving to Broadway — and what continuously keeps people coming to see the show, more than once. 

How did you first become involved with Once?
They asked me to do a reading of it back in February. At the time, I was just playing the trombone for it, but John, the director, and I really hit it off and he pushed for me to audition for the role I’m playing now.  I auditioned for him, but they had someone else cast as the girl at the time — Nellie McKay — but then he still really pushed for me. There was a whole issue; I can’t sight-read and I couldn’t play the music, so they gave me ten days to learn it, and I did!
Have you been taking piano lessons for a while?
No, my friend — he’s an actor, an amazing piano player- he wrote out numbers for fingers and letters on top of the keys, so it’s all muscle memory. So then once I did that and learned the songs, they were like, “Okay, great.” And then they brought me to Cambridge, Massachusetts for a pre-Broadway workshop, and now we’re here.
How many songs did you have to learn?
Six or seven. I probably only play about five on the piano because “If You Want Me” I sing just by myself — I’m accompanied, but the rest I play. I also play a classical piece really early on.
Do you write any of your own stuff in your free time?
Yep, but I couldn’t tell you what I’m playing. I can play it for you, but I wouldn’t know what it is; that’s why the sight-reading was so difficult. Everyone in this show is, like, the best musician you’ve ever met. They’re insane. This one woman in the show learned the accordion, this other guy learned the drums and the banjo, and when he plays them, you’re like, “Oh, I’m sure he’s played the banjo since he was eight,” but he’s only been playing it for a couple of months. I’m surrounded by geniuses.
What about Markèta Irglová and Glen Hansard, the original stars and songwriters of the movie Once?
They’re incredible musicians. It’s intimidating. And I know she plays guitar as well as piano, and he plays piano as well as guitar. They can kind of pick up and just go.
Cristin Milioti
When did you first meet them?
Well, Glen came up and played with us for a night in Cambridge and jammed with us. We hung out with him a couple of times in the break, before we started rehearsals. Steve and I played with him at a bar one night and I sang a couple tracks on his album so we got to hang out that way. We met Markèta one day before we went into tech — really, really late. It was really intimidating and she’s a lovely, lovely person. She just sat in on rehearsal and then she came to opening night. I only met her twice.
What did they think of it?
They both love it, from what they’ve told me. But I would imagine it’s a strange thing to watch; I’ve never seen the film and I’ve been told it’s definitely different in its own thing. On stage, we tell it differently.
I heard that you have additional subplots going on, and characters that were merely peripheral in the movie are more fleshed-out in the musical. I’m assuming "Guy’s" vacuum-repairing dad is one of them.
Yes, he’s one of them. The guy who owns the piano store is also more of a presence. We get into my family a little bit more, but again, I don’t know since I haven’t seen the film. I know that a lot of people who are obsessed with the movie have come with these expectations that it’s not going to live up to it, and they love it — just as fanatically — even though it’s its own thing.
What’s been the most memorable audience reaction so far?
Wow, I don’t know. Opening night was pretty surreal because they told us we were going to Broadway, like, right before we went out on stage. Glen and Markèta were there. All of our families were there. All of our friends. I’ve had great feedback from audience members; if I’m walking down the street and someone saw it the night before, they’ll say, “I can’t stop thinking about it,” or “It’s incredible.” 
This is your third Broadway show. Have any of your previous roles informed this one?
No. I feel like every time I do a play, I forget that I’ve done other plays; I’m always confused, it’s always brand new. I never know what I’m doing. Every time feels like the first time, which is a great thing. I’ve always wanted to be a musician and never really pursued it, and I feel like this is the closest something has been to my heart, in a way, because I get to sort of live that out.
I read that Markèta said the Girl she created is who she wants to be because of the character’s honesty and integrity. How do you feel about the Girl you’ve created? Who do you think she is?
I’d say the same thing. She’s the girl I want to be. It’s interesting though, because when I met Markèta, I looked at her and thought, “I wish I could be you.” More who she is as a person. She’s very honest. She says everything very simply but you’re like… oh my God. And she seems very confident and very gracious. There’s an incredible grace about her that I really admire, so I find it interesting she would say that because I feel that way about her, but I do feel that way about this character as well. But there are things about this character that I wouldn’t want to be.
What are those?
The fact that she’s selfless to her own detriment, but also such a positive presence. She does, I really believe, the right thing. She made a commitment to someone, she has a child, and they can’t work. But yeah, I still wish I could be more like her.
Cristin Milioti
In an article, you said that you “like acting because you have so many things you can do in performance to hide behind when you’re nervous during a moment onstage. “ Have you had moments like this with Once?
No, so far I feel like for the amount of adrenaline that you go through up there, I find it to be very… not safe, I’m trying to look for the right words… anything can happen up there. And it’s all magical. You feel like you can pull something from thin air. In a way, it’s more comforting than actual life, where things seem much more black and white or concrete. You’re just in a fantasy up there, and yet it’s so real. Especially with this piece.
How did it feel having Markèta Irglová and Glen Hansard sit in on rehearsals?
Terrifying. I got a little used to Glen since we had played with him in Cambridge, but I was intimidated by Markèta. She’s such a good musician that I was worried I wouldn’t live up to her standards. She was gracious and wonderful. The acting had nothing to do with it because I’m not playing Markèta, I’m playing Girl. She’s not gonna be like, “She’s playing me wrong,” because I’m not playing her, but I was still worried about performing her music for her because that’s such an intimate, delicate thing in life.
Did they ever talk about their real-life romance?
Only once, in an interview. She’s married now, he’s dating a lovely woman. But this changed their life. And I think they both changed each other’s lives. From what I can tell, there’s a beautiful bond there.
And how does it feel to be coming back to Broadway?
Since it’s an open-ended run, it’s all very unknown. Off-Broadway, we had an open and close date, but with this, do we run for a month?  Do we run for six months? A year? No one knows.  But I can say this show has been the best experience I’ve ever had, hands-down, theatrically. I kind of feel like I’m the luckiest girl alive. Not alive, but… I just feel very lucky.