Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
This segment, I’m gonna speak briefly about how I go about getting a sense of a reflectivity in this little gold Christmas bulb. Looking at the bulb closer there, we got the dark, we’ve got the light and then there’s all these intricate reflections within it. Picking up the lamp nearby, it picks up my portrait as I look in it, I can see the shape of my face. What we’re gonna start with is just to establish in the dark on the bottom and light on the top, just like we have done with the baseballs in the past. I’m gonna use a little bit of burnt amber with ultramarine blue to mix up a nice rich dark… using a larger number 10 bristle, I’m just gonna bring that tonality, or this value down here in the bottom. Spend some time studying the ornament, and then you say to yourself, what shapes do you start with first. I’m thinking that right now. I’m looking over at the ornament, and one thing I’m doing is squinting at the ornament as I study the shapes and, you basically have to hie… put these shapes into some sort of a hierarchy. So you squint at the ornament or the reflected object and then you’ll notice what is the brightest spot, what is the color of it, what is the size if I paint that shape. And then the second, so when I squint at this ornament, I’m noticing two areas that are becoming most prominent. We’re gonna paint those first. Three that is the most prominent are this bright spot up here, it’s almost like a highlight, it’s actually a reflection of the light that’s to the left, then we’ve got this cool light right here which is actually my soft camera light, it’s in the background. Then we’ve got this warm spot over here, that’s actually the third shape within the hierarchy. So we’ll paint those areas down real boldly and I’ll show you how I blend them in. So you take the edge, start bringing it over like that, and then we have this lighter area, and take, see I don’t wanna go too far in there, you can even take your finger like that and blot it. Just wanna bring the… we spend quite a bit of time in this, this little Christmas ornament and set up the foundation with the darks and lights, and then went through and blocked in those simple shapes the light shape, the… with the cad yellow, then the white, and then the red. And I wanna do an experiment now and start back and slowly move in to show you how these little intricate marks actually dissolve in the complete abstraction. It’s literally a complete illusion, from a certain distance it looks like an actual gold ball, but then when you get up close, it’s just a, it’s a complete mirage of marks. And then when we get up close, I’m gonna take my double O brush and make a few finishing touches and just discuss over all what’s going on, then we’ll move on to the next exercise. See right about here it looks like a Christmas bulb, you can see the form and space with a sense of atmosphere around it, with the warm and cool, and the marks that we, that I spoken about. Then as we move in it looks like a Christmas bulb still, but at a certain distance, you can start, you’ll start noticing the abstract nature of surface and how it just a bunch of little flex of paint. And it’s really all it is, right about now, it starts to dissolve into more abstract nature. It’s remarkable. Yes, it’s remarkable, the idea that abstraction can be so close to realism. So here it is, this is my self just this silhouette, big blob of paint. I’m making a few more marks. This is behind me, these are the two windows that I mentioned before, we have another window over here, and then my arm, the actual easel which is just a shape of paint. I’ve use some yellow oaker and some cad reds in there. See this little flex with my double O brush.