Uploaded March 2026 | Updated September 2026, 1 hour ago
Randolph Pitts graduated as a National Merit Scholar from Washington-Lee High School and after that graduated Summa Cum Laude from the University of California Berkeley with degrees in Social Psychology and Near Eastern Studies (Ancient) with a minor in Greek (ancient). He was a Regents Graduate Fellow in Near Eastern Studies and concurrently organized seminars on ancient Coptic literature at the Graduate Theological union in Berkeley. Subsequently he studied Motion Picture Production and Entertainment Law at UCLA which declined to award him a degree. He also studied law at California State University Los Angeles. He did advanced research for the Department of Psychology at UCLA, concentrating on couples and relationship\s dynamics. He was a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of philosophy. He was also an associate member of the Los Angeles County Bar Association and of the American Composers Forum. He served as Distinguished Visiting Professor at Chapman University.
As its CEO Randolph Pitts turned a small, new film production company, Lumière Films, Inc., into the most successful independent producer/financier in Hollywood, best known for the multi-award winning film "Leaving Las Vegas", for which Nicolas Cage won the Oscar as Best Actor, “Fresh” starring Samuel L. Jackson (winner of the top prize at the Sundance Film Festival) and “Touch” featuring Christopher Walken and Gina Gershon and directed by Paul Schrader. Was a widely respected international motion picture producer and production company executive. He was the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world. His music compositions include a concerto for string orchestra, a string sextet, a piano concerto, a piano sonata, and “Der Schatten Eines Traumes” for vocal soloists and large orchestra based on the writings of Karoline von Günderrode, Gilles Deleuze, Walter Benjamin, Christoph Friedrich Heinle and Ingeborg Bachmann.
This is an excerpt from my large work Der Schatten eines Traumes (the title being from a poem by Karoline von Günderrode) for large orchestra, chorus, soprano soloists and electric guitar. These excerpts were inspired by the following texts:
Each event is like death. It is the abyss of the present. In it I do not die, I am deprived of the power to die. The experience of death is the most ordinary thing of the unconscious, because it is done in life and for life. If death is inevitable, it is not because it is internal to the existing mode; it is, on the contrary, because the existing mode is necessarily open to the outside, because it necessarily experiences passions. One can believe in liberated desires, but what one desires is dead, already dead: images. (Gilles Deleuze)
Out of the corpse-warm foyer of the sky steps the sun. There it is not the immortals, but rather the fallen, we perceive. And brilliance doesn’t trouble itself with decay. Our Godhead, History, has ordered for us a grave from which there is no resurrection. (Ingeborg Bachmann, Botshaft [Message])
Love has its triumph and death has one. In time and the time beyond us. We have none. Only the sinking of stars. Silence and reflection. Yet the song beyond the dust will overcome our own. (Ingeborg Bachmann, Lieder auf der Flucht XV [Songs in Flight 15])
Nothing more will come. Spring will no longer flourish. Millennial calendars forecast it already. But also summer and more, sweet words such as “summer-like” -- nothing more will come. You mustn’t cry, says the music. Otherwise no one says anything. (Ingeborg Bachmann, Enigma)
(Other texts used in this piece included writings by Christoph Friedrich Heinle, Walter Benjamin and Karoline von Günderrode)
Randolph Pitts graduated as a National Merit Scholar from Washington-Lee High School and after that graduated Summa Cum Laude from the University of California Berkeley with degrees in Social Psychology and Near Eastern Studies (Ancient) with a minor in Greek (ancient). He was a Regents Graduate Fellow in Near Eastern Studies and concurrently organized seminars on ancient Coptic literature at the Graduate Theological union in Berkeley. Subsequently he studied Motion Picture Production and Entertainment Law at UCLA which declined to award him a degree. He also studied law at California State University Los Angeles. He did advanced research for the Department of Psychology at UCLA, concentrating on couples and relationship\s dynamics. He was a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of philosophy. He was also an associate member of the Los Angeles County Bar Association and of the American Composers Forum. He served as Distinguished Visiting Professor at Chapman University.
As its CEO Randolph Pitts turned a small, new film production company, Lumière Films, Inc., into the most successful independent producer/financier in Hollywood, best known for the multi-award winning film "Leaving Las Vegas", for which Nicolas Cage won the Oscar as Best Actor, “Fresh” starring Samuel L. Jackson (winner of the top prize at the Sundance Film Festival) and “Touch” featuring Christopher Walken and Gina Gershon and directed by Paul Schrader. Was a widely respected international motion picture producer and production company executive. He was the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world. His music compositions include a concerto for string orchestra, a string sextet, a piano concerto, a piano sonata, and “Der Schatten Eines Traumes” for vocal soloists and large orchestra based on the writings of Karoline von Günderrode, Gilles Deleuze, Walter Benjamin, Christoph Friedrich Heinle and Ingeborg Bachmann.
This is an excerpt from my large work Der Schatten eines Traumes (the title being from a poem by Karoline von Günderrode) for large orchestra, chorus, soprano soloists and electric guitar. These excerpts were inspired by the following texts:
Each event is like death. It is the abyss of the present. In it I do not die, I am deprived of the power to die. The experience of death is the most ordinary thing of the unconscious, because it is done in life and for life. If death is inevitable, it is not because it is internal to the existing mode; it is, on the contrary, because the existing mode is necessarily open to the outside, because it necessarily experiences passions. One can believe in liberated desires, but what one desires is dead, already dead: images. (Gilles Deleuze)
Out of the corpse-warm foyer of the sky steps the sun. There it is not the immortals, but rather the fallen, we perceive. And brilliance doesn’t trouble itself with decay. Our Godhead, History, has ordered for us a grave from which there is no resurrection. (Ingeborg Bachmann, Botshaft [Message])
Love has its triumph and death has one. In time and the time beyond us. We have none. Only the sinking of stars. Silence and reflection. Yet the song beyond the dust will overcome our own. (Ingeborg Bachmann, Lieder auf der Flucht XV [Songs in Flight 15])
Nothing more will come. Spring will no longer flourish. Millennial calendars forecast it already. But also summer and more, sweet words such as “summer-like” -- nothing more will come. You mustn’t cry, says the music. Otherwise no one says anything. (Ingeborg Bachmann, Enigma)
(Other texts used in this piece included writings by Christoph Friedrich Heinle, Walter Benjamin and Karoline von Günderrode)
