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At the end of his final confrontation with the Beast, he got a glimpse of his full potential when the fully charged RFI amplified his powers. He began to fire Missile Bolts like he did during his first battle with the Beast. He appeared to havea permanent form of Karmic Overload he was seen using in the first battle. His Static Thrusters allowed him true flight ability, and was less hindered by the Beast's attacks. His powers were amplified to the extent that he could bring down the Beast within moments, whileit had taken a much longer time when the RFI wasn't fully charged.

Since Kessler was Cole's future self, it can be assumed that he would have gained all of Kessler's abilities had he stayed alive for as long, and perhaps even surpassed them (Kessler may not have had to restore electricity to Empire City, or look for Blast Cores in New Marais). Womens Wedge Loafers Sneaker Lace Up Athletic Walking Shoes Waterproof White kZgsfxT

Cole has several weaknesses, most notably his body regulating electricity. Cole is able to store and channel electricity in and out of his body, though it comes from a different power source. Meaning, the energy he is able to produce is limited by the amount he can store. In order to use his more powerful abilities, Cole has to WeenFashion Womens LowHeels Soft Material Solid PullOn Round Closed Toe LoaferFlats Beige NBAh20UY
from a power source to fuel them. When out of energy, Cole can only perform minimal actions and attacks. Also, Cole's body reacts to the energy that's surrounding him. If energy is absent in the area, Cole's body weakens, which makes him even more vulnerable, considering that there is no where for him to absorb electricity. Rusnak Womens Sheepskin Leather Mule Slippers House Shoes/Warm Wool Lining D68P Beige 25UuhXC
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Another weakness he holds involve being submerged into a large body of water. Falling into the middle of the ocean will result in Cole instantly dying, electrocuting himself enough to effectively kill him. When submerged into a waistline-deep body of water, Cole is continuously electrocuted, and will last for as long as he stays there. But, Colecan to withstand small amounts of water, as he is seen able to drink small amounts, such as bottles of water, or beer. Cole is also able to stand in a small puddle of water, although this causes the puddle to produce a static field, electrocuting anyone other than Cole that stands in it. This is the limit of his ability to interact with water, and it is stated that he must sponge bathe. [1] [2]

Mentioned by Zeke, Cole is unable to use guns, for the gunpowder reacts to the electricity at the palm of his hand, heating it up enough for the gun to explode. However, Cole can use this to his advantage, as he is able to destroy mounted machine guns used by his enemies through the use of electricity, rendering them defenseless. Cole is unable to sit in cars, for the electricity within his body reacts to the car fuel, causing it to explode. He is however, able to stand on top of cars, perhaps due to his rubber shoes, which the non-conductive surface renders the electricity immobile. Cole might not be able to hold normal cameras, as Zeke gave him a special camera that won't explode when he touches it. [1] [2]

Los Angeles
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By Lisa Boosin
Share Megastar Stylist/Costume Designer Nancy Steiner Steps into theSpotlight
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Style Icon is a series that highlights Angelenos who aren't strictly in the business of fashion, but who have an affinity for style, clothing, retail—or just plain looking good.

Style Icon

Nancy Steiner has a pretty enviable career, having styled some of the biggest names in music, designed costumes for some of the most iconic and quirky recent films and dressed the commercials that make you sit up and take notice. Her sense of style, her understanding and appreciation of individuality, and her love of travel, craft and art inform her life and her seriously lovely Silverlake house.

Nancy Steiner

Nancy started out in fashion working at Nana's , the seminal spot for the West Coast's punk/alternative culture. Wearing a strict uniform of 40's dresses, she was in contact with stylists and costume designers who pulled from the shop -- and constantly told her if she ever wanted to leave Nana's, they'd hire her.


Eventually she made the move?styling videos for Nirvana, No Doubt, Smashing Pumpkins, Weezer, Bjork, David Bowie, the Rolling Stones, and Air among others. She balanced the videos with commercials and assisting on films like Reality Bites . Her first big break was designing the costumes for Todd Haynes' Safe , and since then she hasn't looked back; designing costumes for The Virgin Suicides, The Good Girl, Lost in Translation, Shopgirl and many more.

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We were lucky enough to get to spend some time with Nancy and her rescue pup (who's name, as he had only been adopted two days previously, was still pending), exploring her aesthetic inspirations, hearing about past experiences and a bit about what's next.

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Posted on July 4, 2010 by Alexandra

The Film Collaborative was recently on a panel at the Los Angeles Film Festival as part of their SEIZE THE POWER SYMPOSIUM which focused on DIY DIGITAL Distribution. This was the description of the panel we were on and that I moderated and will discuss below:


NEW DIGITAL DISTRIBUTION INITIATIVES Leading digital distribution executives present new solutions for distribution as they explain their business models and the opportunities they offer filmmakers to reach audiences and bring in revenue for their films.


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After the panel was over someone asked how he could decide which one of us to work with; he liked us all. It was clear to me that even though we had just finished an hour long panel at which we each presented our respective companies and then answered questions, it was not enough to make clear to everyone the way in which to relate to each company and how to make decisions about whom to work with in distribution.

Recently on Ted Hope’s blog

Ted Hope’s blog

Jon Reiss and Ted Hope and many others including filmmakers discussed the relevance of panels and expert books and even more recently Jon Reiss wrote a blog titled “Coping with Symposium Workshop Brain Fry”. That is what I want to address here, specifically in relation to the panel I moderated and was on called “New Digital Initiatives”.

At the LAFF Panel all the companies discussed what they do and here’s some of that information below, and what we recommend a filmmaker do to make sense of information given at a panel.

Gravitas Ventures talked about its focus on Cable VOD and the fact that it works with Warner Brothers (WB) which (when WB takes a film) can lead to a film being available in up to as many as 50,000,000 homes via about 30 – 40 cable operators and up to 80,000,000 – 90,000,000 homes when one factors in digital. When WB does not take the film on Gravitas can at least get the film out to about up to 12,000,000 – 15,000,000 Cable VOD homes. Of course one in this circumstance has to realize that when WB is in the picture, there are two fees being taken as well as two companies being relied on to provide information and to pay. The other aspects to analyze are 1. the benefits of having a studio involved in VOD and Digital often leads to HIGHER revenues from Cable MSOs (Multi System Operators) and digital platforms and also MARKETING LEVERAGE. But, 2. the Studios are also glutted and not necessarily focusing on your film and you may get lost or inadvertently shafted (and I know it’s happened) so one has to have contractual commitments or protective clauses, and 3. They won’t let you keep digital rights usually, though maybe Netflix SVOD; and 4. accounting can be soft on the details. Gravitas does 2-year deals and about 350 -400 films per year and is the largest VOD aggregator at this time. Gravitas noted revenues per film ranging from as low as $5,000 – $250,000. A FILMMAKER must ADDRESS MARKETING and COSTS RECOUPMENT whether in dealing with Gravitas or any other Cable VOD Digital Aggregator (e.g. TFC also works with Brainstorm Media Fluent / Lions Gate), or any of the other studios who are or will be opening up to “independent product”.

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