> ## Content Index > Fetch the complete content index at: https://www.smdp.com/llms.txt > Use this file to discover other available public pages before exploring further. # Creative couple - URL: https://www.smdp.com/creative-couple/ - Published: 2008-08-13T15:00:00.000Z - Updated: 2026-10-25T00:40:55.000Z - Author: Guest Author - Tags: Entertainment, Santa Monica, #archive-import *By TAYLOR VAN ARSDALE Special to the Daily Press* For those of you who dream of working artistically with your spouse look to Randall Miller and Jody Savin whose latest cinematic endeavor “Bottle Shock” may be the perfect example of creative synergy realized. Like most married couples, Miller and Savin finish each other’s sentences, an added benefit when your spouse is also your writing partner. Savin is an exuberant pixie; full of life and Miller is just as affable. Bill Pullman, one of the film’s stars says, “They have an energy and enthusiasm about the storytelling that is infectious... people feel good about working on their movies.” Savin and Miller met while at an American Film Institute event, but their collaborative journey to film success was neither easy nor was it Miller’s first career choice — he was pre-med at UC Davis. Somewhere in his second year of organic chemistry, much to the chagrin of his doctor parents, he realized it wasn’t his calling and dropped out, making his way to L.A. to act, landing roles in, of all things, beer commercials. Meanwhile, Savin, a Princeton grad, was living in NYC with dreams of being a playwright/poet, when she decided to transition to the film biz. To get the ball rolling, one of her father’s patients (he’s a dermatologist) connected Savin to the head of music on soap operas and Savin was hired to do “overflow.” Miller adds, “They loved her,” because Savin explains, “I was easygoing. I wasn’t a conservatory trained musician, so when a producer said, ‘I hate the music,’ I wouldn’t get offended, I’d say, ‘Okay fine. Here are 12 other pieces that sound really great’, and I would run down the hall and get them.” Though not her chosen medium she applied a high standard to her work, becoming an Emmy-nominated musical director. But at heart Savin was a frustrated writer, and so she applied to AFI’s writing program. Back in L.A., Robert Zemeckis (“Back To The Future”) had been introduced to Miller’s writing and took the aspiring actor under his wing, kindly suggesting USC Film School as Miller says, “A back up plan for the whole acting thing. It was like starting all over again, but at USC, I learned how to make movies.” Some of his thesis film scripts were produced but Miller was never asked to direct. In fact, one of his bombastic teachers commented, “Directors are born, and you were not born a director.” Fortunately Miller had the good sense to know, it was time to move on. He applied and was selected into AFI’s director program where he made three shorts, amongst them, “Marilyn Hotchkiss’ Ballroom Dancing & Charm School.” His big break came from AFI alumnus Ed Zwick who saw it and had him direct an episode of “Thirtysomething.” Savin had been at AFI for almost a year when she saw Miller’s first short and recognized his potential. But the film was as Miller says, “About a guy who dates three women simultaneously; completely misogynistic.” Savin told him, “Finally there’s somebody with talent at this school, and you’re wasting your talent on drivel.” Miller hated her. Then one night they were at a Hollywood bar chatting when Miller kissed her and says, Savin, “We’ve been together ever since.” The pair then began working exclusively as a writing team. They both admit to the occasional conflict, Miller explains, “The arguments over writing can get very personal … such as, ‘you always put that same joke in everything.’” They both laugh good-naturedly when he makes this point. The duo outlines extensively in coffee houses, which forces them as Miller says, “To keep the swearing at a minimum.” They are together every single day, six hours a day writing. “Then,” says Miller, “One of us starts a draft. Then the other one gets the draft, and you can’t even come into the room while the other one has the draft … we don’t write well in rooms together.” In “Bottle Shock” they had checks and balances. “The rule is,” says Miller, ”you can’t go back to a previous joke or line, you have to keep evolving it,” of which they both concur, “It took years to come up with this particular plan.” The original “Bottle Shock” script, written by Ross Schwartz, son of Sherwood Schwartz (creator of “Gilligan’s Island”) was intriguing. “We knew,” says Savin, “That suddenly at some point in the 1970s people weren’t embarrassed to drink California wine, but we didn’t know what was the catalyst for that sea change in thinking.” The film depicts the story of real-life heroes of viniculture, Jim and Bo Barrett and the groundbreaking 1976 competition that forever changed the world’s perception of California wines. Miller and Savin did a lot of research, eventually crafting their own version. The most significant changes are several fictionalized characters added to provide conflict and to handle exposition, such as “Maurice,” Dennis Farina’s character and “Sam” the “Heidi Barrett” composite. “Bottle Shock” has been a festival pick, since it debuted at Sundance. Next up for the duo is “Nobel Son,” a dark piece, starring Alan Rickman, coming out in October. TAYLOR VAN ARSDALE is a writer/producer and movie reviewer for the Daily Press. She *Originally published in the Santa Monica Daily Press print edition on August 13, 2008.* [Read the original PDF.](https://s3.us-east-1.amazonaws.com/smdp%5Fbackissues/081308.pdf?ref=smdp.com)