“Overdue,” the short film by Arian Moayed for which Lauren composed the score, has received its online premiere on The Business Of Being Born.com — the website for Ricki Lake’s celebrated film of the same title. ”Overdue” explores the options available to a very pregnant mother-to-be (who prefers natural childbirth techniques) when living in a state with mandatory inductions 2 weeks after one’s due date. It approaches the subject with humor, grace, and authenticity. All those involved with the film are honored to find a home on Ms. Lake’s website, which celebrates natural childbirth and the pregnant woman.
Category Archives: Film
Cinequest Film Festival Selection
Lauren composed and sang the a cappella score for Arian Moayed’s short film “Overdue,” which was selected for the 2012 Cinequest Film Festival in San Jose. Feb 28 – Mar 11. Visit Cinequest.org for more information. And if you’re in the area, come by for a screening!
Happy Feet
Lauren composed this chase sequence as a project during her final year at NYU, pursuing her master’s in Composition / Film & TV Scoring. [Original music for the film was composed by John Powell for Warner Bros.]
Serenity
Lauren composed this opening sequence during the ASCAP/Buddy Baker Film Scoring Workshop at NYU, recorded by a forty-piece orchestra in May of 2008.
Dead Weight
Lauren and fellow NYU alum Andrew Barkan scored for Yemane Demissie’s film Dead Weight, which follows the story of an Ethiopian woman who immigrated to LA. Now 30+ years later, she is forced to confront the man who tortured her during the bloody Red Terror period in Ethiopia’s history.
[This clip finds Hewan in her friend's art gallery, seeing and recognizing her torturer for the first time]
Dead Weight was recently screened at the renowned BFM Festival in London.
Wedding Night
Wedding Night
This piece was composed while at NYU for Amos Ezra Katz’s film, Wedding Night. The film follows a young man who comes across a young woman in the Port Authority Terminal. It becomes clear that she has no other place to go for the night, so he offers her his apartment. She is hesitant, but accepts.
While she sleeps, he creeps into the room to snap a Polaroid picture of her — we’ve seen earlier in the film an entire wall of Polaroid pictures. The next morning, she awakens before he does and discovers the photo. Frightened, she runs out without his knowing. The music begins as he awakens and realizes what’s happened. (Temp music provided by the director was Magnetic Fields’ Love Is Like A Bottle Of Gin)