By Ray Pride

Jeff Dowd And Alex Noh Launch Blood Sweat Honey, A Distribution-Marketing Consultancy

Indie Film Veterans Jeff Dowd & Alex Nohe Launch Full-Service Distribution & Marketing Consultancy

Festival Strategy, Theatrical Release, Distribution & Creative Consulting

Longtime film industry veterans Jeff Dowd and Alex Nohe announce the launch of Blood Sweat Honey, a comprehensive consulting agency specializing in providing strategic counsel to indie filmmakers.

Offering services such as producer representation, film festival strategy, script and post-production creative consulting, theatrical release, hybrid distribution and marketing, Blood Sweat Honey co-founders Dowd and Nohe bring a wealth of knowledge in all aspects of the industry.

The inspiration for “The Dude” in the Coen brothers’ cult favorite The Big Lebowski, Dowd has been prominent in the indie film circuit for more than 45 years. A writer, exhibitor, distributor, film festival director, producer and producer’s representative – as well as a founding member of the Sundance Institute and Sundance Film Festival – Dowd is a nationally recognized authority on scriptwriting, marketing, distribution and exhibition. He has consulted on a diverse array of films, including Blood Simple, The Black Stallion, Chariots of Fire, Gandhi, War Games, Hoosiers, Desperately Seeking Susan, Kissing Jessica Stein, The Blair Witch Project and Neil Young’s Heart of Gold, among many others. Currently, Dowd and colleagues are evolving storytelling, media and activism with the interactive transmedia series Our Classic Tales that Fuel Our Future, which will launch this fall.

Nohe is a film distributor, filmmaker and entrepreneur with more than 20 years of executive and management experience in the film business with broad-based expertise and relationships with talent agencies, managers, publicity firms, festival programming, event producing, film production, post-production, marketing and theatrical distribution. Most recently, Nohe was a Partner in Circus Road Films where he helped shepherd more than 100 films into distribution.  Prior to that, he ran the theatrical distributor Walking Shadows. Nohe has worked with some of the world’s most noteworthy filmmakers – including Christopher Nolan on Following, Don Coscarelli on Bubba Ho-Tep and Bill Condon on Gods & Monsters – assisting with representation, distribution and much-deserved box office success.

About Blood Sweat Honey:

Launched in 2017, Blood Sweat Honey (BSW) is a comprehensive consulting agency providing strategic counsel to indie filmmakers. Helmed by long-time industry veterans Alex Nohe and Jeff Dowd, BSW secures distribution deals ranging from theatrical to DVD/VOD, cable TV, streaming and educational platforms in North America and internationally. Services offered include producer representation, film festival strategy, script and post-production creative consulting, theatrical release, hybrid distribution, marketing and international consultation. From script to post-production and beyond, Blood Sweat Honey is a full-range consulting service for the independent film industry. Visit online at

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon