Development and Release
"Too Lost in You" is a rendition of "Quand j'ai peur de tout", a 1997 song performed by French singer Patricia Kaas. It was written in English by American songwriter Diane Warren for the Sugababes' third studio album, Three (2003). Warren composes her songs in an uncleaned room, where she is seated on an old stool and surrounded by keyboards, drum machines, and a tape recorder. Group member Heidi Range commented on the experience of collaborating with Warren, saying: "It could be easy to turn around and make people feel not as important as you. She made us feel 100 percent comfortable." The song was produced by Andy Bradfield and the Australian musician Rob Dougan, and mixed by Bradfield. It was recorded at Realsongs, which is located in Hollywood, California and shares the name of Warren's publishing company. "Too Lost in You" was programmed by Yoad Nevo, who also provided the instruments. The group members' vocals were engineered by Mario Luccy and produced by Khris Kellow. According to Range, "Too Lost in You" represented all three group members' romantic lives, saying: "You need that comfort when you go home."
"Too Lost in You" is prominently featured on the soundtrack to the romantic comedy film Love Actually, which was released to cinemas in the United Kingdom on 21 November 2003. The director, Richard Curtis, specifically chose the song for the film, and described the soundtrack as "the life and soul of the film." According to Heather Phares of AllMusic, "n emphasis on songs from British artists, such as Sugababes' "Too Lost in You" keep the soundtrack from becoming too predictable". "Too Lost in You" is the second single from Three, and was released as a CD single and 12 inch single in the United Kingdom on 15 December 2003. The song's release around Christmas time prompted several media outlets to classify it as a contender for the 2004 Christmas number one.
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“Such condition of suspended judgment indeed, in its more genial development and under felicitous culture, is but the expectation, the receptivity, of the faithful scholar, determined not to foreclose what is still a question—the “philosophic temper,” in short, for which a survival of query will be still the salt of truth, even in the most absolutely ascertained knowledge.”
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“Such condition of suspended judgment indeed, in its more genial development and under felicitous culture, is but the expectation, the receptivity, of the faithful scholar, determined not to foreclose what is still a question—the “philosophic temper,” in short, for which a survival of query will be still the salt of truth, even in the most absolutely ascertained knowledge.”
—Walter Pater (1839–1894)
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