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'Total Loss' is an extremely stylish film that includes some very rewarding music scenes. Dana and Peter (Alderliesten, editor) used some very strong temp-tracks while editing, such as Angelo Badalamenti, Romeo and Juliet. It was a challenge to replace these with newly composed music and create the same effect.

In my opinion we succeeded reasonably well, with one notable exception in the crash sequence. This whole sequence was initially edited with a requiem of Romeo and Juliet, and worked like a charm with the temp-track. For us it was a real headache scene with 6 rejected music options. Eventually the scene was mixed with almost no music, sadly enough.

For the rest, the film became a balanced mix of dark orchestral and experimental electronic music. And we are still very proud of it!

At one point in the film, one of the main characters tells a highly imaginative story about his experiences in Cologne. Dana asked if this could be scored completely over the top, to seperate it from the rest of the film. The scene contains a fictitious chase and a fight. In the beginning it took me one day searching for tempi and measure types to support all the beats and movements musically. The orchestra had some difficulty with this fierce piece. A rare opportunity to really work with an orchestra.

Another interesting point was a money-down-the-drain sequence a little earlier in the film. Wiebe and I composed a juicy tune two months before, which fitted in perfectly, we only had to cut it down to the right shape.

'Total Loss' was finished in 5.1 surround sound, a nice opportunity for Bart and me to finish the mix with the orchestra in surround sound. This, we realised, was a huge job: our first estimate of 3 days turned into almost 2 weeks. We learned a lot though.

Finally critical acclaim with the review of 'Total Loss' in Variety, the authoritative Hollywood film magazine. Besides a much more balanced (mildly positive) view of the film as a whole (which really means something, as Dutch films are normally crushed), the music is specifically mentioned as one of the style-defining elements. Variety: "they're cannily melded here into a visual/sonic bad trip, amplifying protags' paranoid, self destructive mindsets. Terrific design contribs are highlighted by Bert Pot's feverishly imaginative lensing and an orchestral score that's at times restrained, at others wildly, sarcastically melodramatic. Tech package is first rate."

Han