Face Off (2011) s01e03 Episode Script

Previously, on "Face Off", 12 talented special effects makeup artists came to Los Angeles, to compete to join the world's elite.
Everybody, drop 'em.
is challenge is all about nude body painting.
Serge's model's still just standing there nude.
I'm, like Frank is just done.
He slept through the [beep.]
bar challenge, he slept through the tattoo challenge.
Man: There can only be one winner.
Anthony.
McKenzie: Who is going home tonight? Glenn: Sergio.
And tonight on "Face Off" I have a very special guest, my dad Mike Westmore.
Holy crap, we're gonna do aliens.
What are you doing and what am I doing? Tate: That's dope.
That's so good.
It will literally be down to the second.
You both had your heads up your asses.
What in the hell were you thinking? - You've done a really nice job here.
- Oh, thank you.
To make it to the top, they'll have to impress our award-winning panel of judges Ve Neill, legendary makeup artist, whose work includes "Edward Scissorhands", "Beetlejuice", and the "Pirates of the Caribbean" films; Glenn Hetrick, cutting-edge makeup effects artist on "Heroes", "Legion", and "Buffy The Vampire Slayer"; and Patrick Tatopoulus, visionary creature designer for "Independence Day", "Godzilla", and director of "Underworld: Rise of the Lycans".
Who will be the next great name in movie magic and earn $100,000 dollars and a year's worth of makeup from Alcone? Get read for "Face Off".
What up, y'all? Yesterday, I thought for sure Frank would've ended up on the chopping block.
I was unbelievably shocked that Frank walked out safe.
- Yeah.
- No way.
Conor: Yeah.
Frank has no passion, he has no creativity, and the guy is basically blowing it off.
Anthony: If we do team challenges today, I pray to God that I don't get Frank.
[laughs.]
What's up? Megan: Me and Conor click very well, and I haven't gotten, uh, to click with somebody like this in, I don't think, ever.
You're sculpture looked Or your statue looked amazing.
There was a little bit of a tongue in cheek joke, like, with the bird poop and the feathers.
I thought that was awesome.
I actually thought I was, like, "Hey, I'm being creative.
" It's fun.
It's nice.
We have a lot in common.
And he's very, uh, nice.
[laughs.]
I'm glad you stayed.
Thank you.
Gage: I don't know, this is crazy.
When we came up to this location, I recognized it immediately from "Bill & Ted's Bogus Journey".
I was, all, "Hey.
" And Star Trek, of course.
Frank: I've never been up here, so it was really exciting to actually get to walk around a little bit, and get to see these big rocks and these cool formations.
It's awesome.
- Hey, guys.
- Hey.
Welcome to one of the most iconic locations in motion picture history Vasquez Rocks.
Countless Hollywood movies, including some of the most famous science fiction projects, like "Star Trek", have come to life here.
I have a very special guest with us here today.
He's most well-known for his 18 years with the "Star Trek" franchise.
He has won nine Emmys, an Oscar, and he's also my dad.
Please welcome Mike Westmore.
Anthony: I was really excited about meeting Michael Westmore.
The guy's created countless aliens.
He's a legend.
All right, guys, this is your chance to do something literally out of this world.
Your spotlight challenge is based on a recent scientific discovery of a new planet.
You will work in teams of two, and create an alien species that might actually exist on what appears to be the first planet besides Earth capable ofustaining life Gliese 581 g.
Holy crap, we're gonna do aliens.
So, Dad, you have created more aliens than just about anybody I know, at least on this planet.
Can you please tell them what it takes to make a convincing alien? The idea is to keep it away from being a humanoid.
We're doing an alien.
That is restructuring the bone structure.
The texture of the skin that you finally put on it is important, to kind of change that a bit, and coloring, getting away from the beiges and the pinks.
And then there's all the little extras you can throw onto it, fingernails and teeth.
The one thing is to keep the eyes open.
This is the windows of the soul.
So get in there and have fun with it.
You've been placed into teams of two randomly.
Team number one is Frank and Anthony.
There is no justice in the world when they partnered me with Frank.
Team two, Conor and Jo.
Jo: I couldn't be happier to be teamed up with Conor.
I think we're gonna do really well on this challenge.
Team three is Megan and Tom.
- We got this.
- Yeah.
Team four, Marcel and Gage.
All right.
You know.
Team five, Tate and Sam.
When you get back to the workshop, I've also set up this very brief video there for you so you can learn more about Gliese 581 g.
It's very important that you pay attention because you're gonna wanna use these details in the creation of your alien.
Good luck.
Thank you.
I don't know how to wow Mike Westmore.
He's the guy that invented every alien you've ever seen on camera, so if we can accomplish this, then I'm gonna feel like king of the hill.
Anthony: After you, sir.
Video: Welcome, competitors, to Gliese 581 g.
Located in the constellation Libra 20 light years from Earth, Gliese 581 g is the most Earth-like planet found outside of the solar system.
Tate: I was really excited because I knew about Gliese 581.
I'm a weirdo with outer space.
I love that stuff.
Video: Favorable atmospheric conditions could permit the presence of liquid water, a necessity of all known life.
It's aquatic.
Active plate tectonics have disrupted the planet's surface, resulting in significant volcanic activity.
No seasons, no tilt.
Gliese 581 g's fixed orientation towards it's star leaves it permanently light on one half, and permanently dark on the other.
But even the light is not a lot of light.
Which means it'll be very pale.
We hope you enjoy your stay.
As soon as we watched the video, that was when everything started really coming together.
Stefan looks cool.
Come with us, Rob.
So we're having a creature that's squatting because of the gravity.
Sam and I have already just kind of telepathically agreed on a look.
We've got creature pushed down.
- A kind of crab walk.
- Right.
It's a mammal, so they would do live birth.
Then we could have multiple, like, mammary available in case they have Like pups, you know what I mean? We have the womb, which is closer to the ground - So this is able to form up.
- Exactly.
They could actually be spending the majority of the time submerged.
They're an evolution of aquatic mammal.
Tate really wants to have him on his back.
I'm nervous about it, but I came on to this competition to take some risks, and so I'm thinking I'm gonna go for it.
That's dope.
That's so good.
- So, I'm just kind of sketching out - I love it.
Megan: We want our creature to live on the dark side of the planet, and that, with the temperature being cold, he's going to have to dig close to the volcano to keep warm.
So therefore, he has claws.
He's got a great shape to him.
I totally want to do a chest piece.
Tom: The face, chest, and arms we plan on making out of foam latex.
The reason being is that it moves real well, we'll be able to paint it beautifully with an airbrush, and I'm excited to see it come to life.
I reminds me of the movies I grew up on, and I love it.
- I'm gonna start getting some of our materials, okay? - Cool.
This is a couple different designs that, you know, I'm playing with here.
This would be, like, soft, wrinkly tissue that emanates out from an ear hole, and it would be, like, really gelatinous.
- Okay.
Conor: I picture going with kind of a pseudo-amphibious look.
She's female, but kind of decadent, aging, intelligent.
You know, kind of like a heavy undercarriage brain thing.
This is obviously very dramatic.
Conor's been doing special effects longer than I've been alive.
If we did nails on her, it would only show her finger.
Well, I don't know.
I'm hoping that he gives me a little bit more leeway, and gives me a little bit more respect than I think he has for me.
Okay, so do you wanna get started on the face and I'll get started on the back? Gage: Our creature, it's aquatic and land-dwelling, but it exists in the darker half of the hemisphere, so it was gonna be pale, and kind of have a transparency to its skin.
It should have these quills that go down the back because if it's in the wild, like a porcupine, they need to be able to have some defense mechanism.
Cool.
Frank: So I was thinking maybe, to get away from having to do a lot a lot of stuff, maybe they have technology, maybe they're more developed than us.
We can give them some sort of clothing, like, retro kind of style.
Frank was, like, we're gonna do an astronaut, jet pack, ray gun, rubber mask, it'll be quick, and I was just not feeling it.
I feel that any human-esque type fabric automatically makes it more of a Buck Rogers or Star Treky thing.
But I kind of like, like, old school sci-fi kind of stuff.
Anthony just isn't feeling my idea.
I don't think the judges are gonna dig a Halloween costume, like, a slip-over mask.
I'm, like, you gotta be [bleep.]
kidding me.
You're just, like, stacking stuff up.
I mean, like, that's a lot of [bleep.]
to build.
You got a big back piece, all these texture things.
I'm not going home for some retro alien.
I'm not doing it.
It is day one, and we just have a ton of stuff to do.
This is a huge project.
In two days, we're doing a face, a chest, two arms, two legs.
First thing, we have to finish our sculptures, because then we'll use those sculptures to make our molds.
Okay, time starts now.
I want to at least get the bulk of the sculpt done, and at least maybe get some start on the molds.
Frank and I finally came to terms with an idea, but we never came to a complete sketch.
I go ahead and start sculpting.
We're going with an aquatic type creature, since the planet is mainly water.
I've really let Anthony kind of take the reins on this.
My idea was an homage to 50s sci-fi flicks, but he shot that down.
Anthony always acts like he's got something to prove.
I'll start on the back, fluffing the back out.
How about that? Jo: First day, we have four hours in the shop.
Conor and I have a lot to get done.
We are doing a full head and a face prosthetic, both out of silicone.
You know what I was thinking about, too, is making a side piece.
Before we get into that, we may not have as much silicone as we want.
I'm still trying to get a bead on what Jo's talents are.
I haven't seen her sculpt yet.
I'm still waiting to see what she has to offer.
Sam: We're working with wet clay because it's fast, easy to sculpt with.
And this is a great place to add in some asymmetry.
We've got six ground rockets.
[both laugh.]
Tate: We're actually really far on the sculpture.
Our goal is to have it done by the end of the day.
So, rumor on the street is that a lot of people will be doing, like, aquatic stuff.
The concept behind our alien is he sometimes travels out to hunt, hence the quills.
He needs a defense mechanism because he's not a fast alien.
Once I get the back sculpt done, we'll make those quills.
Anthony: Frank! Frank, what the hell are you doing over there? Before the day's out, there's definitely gonna be punches flying.
[chuckles.]
Frank goes out and gets a cup of coffee.
Then he goes to get another cup of coffee, then he starts walking around.
- What's up, Franky? - Just checking it out.
I'm working, I'm sweating, I'm getting into it, and all Frank can say is, "No, no, no, I'm really fast.
" Great, just [bleep.]
great.
[humming.]
- You wanna come put this away with me? - Yes.
Megan: Jo is, like, not doing anything, and this is just outrageous.
I think Megan's incredibly jealous of Jo.
All she cares about is "What's Jo doing over there? "How come Jo's not helping Conor? Where's Jo? "Jo, Jo, Jo.
" I'm, like, what does Jo have to do with our project? There's much more than this and this that meets the eye.
Getting the hard stares when people walk by.
Sam: Looking around at everybody else's, I realized that a lot of people were playing it really safe, completely the opposite of what we were doing.
Sometimes you just gotta have big balls.
Tom: I look over my shoulder, and Megan's raking the sculpture down.
I'm losing it.
We got 10 minutes, Megan.
You're re-sculpting the whole face? - I'm not resculpting.
It's lopsided.
- Okay.
I was just, like, one step away from done, and now we're back Mm-hmm, but it's just, it was Yeah.
All right, guys, that's it.
Clean up.
Tools down.
Let's get out of here.
- Come on, Tate! - Coming! Tom: We got a lot of work to do tomorrow.
Conor: It's Megan's birthday today.
We did a little celebration before our workday started.
Make a wish, girl.
Find the courage.
Oh, I hope I win a challenge.
Visualize.
Yay, all right! It's Megan's birthday.
Yay.
- How's the festivities next door? - They made her a cake.
"We should make her a cake.
" I don't think so, no.
She doesn't No.
I don't think so.
Hey, Meg.
I know Anthony made you a cake.
I wanted to get you like an ice cream cake or something, but I couldn't 'cause we're stuck here.
Megan: I want to get to know Conor more.
Conor's a sweetheart.
[giggles.]
Yeah, I like Conor.
- Thank you.
- No problem.
Jo: I think Megan's holding on to Conor's coattails.
I think she's just trying to win him over with her "charm"? Good morning.
Second day in the lab, we're looking at the sculpt, and it's just not quite there yet.
Tate: Do you wanna start doing some detail on the front? - Should I? - Get on at it.
We have a pretty long day here, nine hours.
We need to get everything into mold and start casting the prosthetics.
I'm doing my thing, creating textures and creating stuff, but Frank's not incorporating those design's into the face.
There's no flow between the face and the back.
Then I look over at McKenzie, and Patrick Tatopoulus walked in.
I'm thinking, like, "Oh, my God, they're gonna see we don't know what's going on between us.
" I don't know that it was always in the water.
I thought it would kind of be both.
So you guys need to discuss about that? Frank: At that point, it just dawns on me that we have no idea what the hell we're doing.
The outfit is actually gonna be an iridescent pearl spandex, so it gives it, like, that underbelly of a fish.
- What have you got going on? - Yeah, what's in there? Jo: When Patrick and McKenzie come in, everyone starts second guessing themselves, and with them over your shoulder, you can completely think that you're going in the wrong direction.
We've got very large eye holes in the back so the actor can positively see.
We've got nose and mouth vents so that straws and what have you can get in there with ease.
Yeah, we didn't lock him inside a blind helmet.
Thank you.
Anthony and Frank, I didn't feel like they were really on the same page.
Patrick: That's true.
Anthony and Frank don't seem to be working together.
One of them is doing a water creature, the other is doing an amphibian.
Unless they start communicating, their design won't work.
Some of them are putting so much into it, with, really, so little time.
You talk about an alien creature, you need to bring something to the table.
Gage and Marcel, and Megan and Tom, both planning on an albino paint scheme, which is tricky.
To make a creature look translucent, they'll have to rely on the intricacies of their paint job, and subtle techniques like veining to bring the texture and skin of their aliens to life.
Are you worried about any of the teams or anything you saw today? Patrick: Conor and Jo, it's interesting.
I'm concerned that they're doing such a large head prosthetic out of silicone since it's very heavy, but silicone has such a wonderful translucency that their alien could really come to life in the paint job.
Sam and Tate seem very ambitious.
It's a lot of pieces, a lot of things to do.
Sam and Tate have a huge prosthetic, so I'm glad they're planning on using foam latex since it's very light, and will be easier on their model.
That said, they're taking a big risk by having their model walk backwards and covering his eyes.
I hope they can pull it off.
Megan: We're all super-busy making our molds today.
When you're making a mold, you want to cover your sculpture with wet cement.
After you clean up the mold, now you have this negative of your sculpture.
This will be used to make a prosthetic.
Our mold is still wet, and Tom wants to pull it out.
I see Tom put the mold onto a cart, and lead it outside, and then trying to pull the sculpture out of this wet mold.
It's starting to crack.
[sighs.]
You gotta think, the cracks, we can integrate it into our texture.
You can not use a crack and say, "Oh, it's gonna be part of the alien.
" It's not gonna be part of the alien, okay? It's a disaster.
It's definitely not set.
Tom: We had three hours left.
We had two legs, two arms, and a bunch of costuming to do.
I'm trying to make this project work, and I'm getting met with complete passive aggressiveness.
There's nothing we can do about it.
Just work.
Jo: Working with Conor makes me feel like I've been babysat the entire time.
- You have silicone in the mold already? - No.
I'm not gonna [bleep.]
up.
So let's talk about this, painting the silicone and putting the silicone in.
What are you doing and what am I doing? I'm done.
This is gonna be a horrible, horrible collaboration.
Jo: The second day, I'm working with Conor, I felt like I'd been babysat the entire time, and the only way to get across to someone so that they know how the other feels is to say something.
What are you doing and what am I doing? I have 20 years on Jo.
She hasn't cast silicone appliances.
I would like to paint.
Conor: I thought, "Okay, well she's got an eye for detail and for colors, we can make something happen here.
" - Cool.
- That's all I wanted.
- Okay.
- I just want to know where we're at.
I respect him for understanding, and I'm glad that I said something to him at this point.
Getting there, getting there.
Getting there, getting there.
How do you want to de-mold it? Do you want to set it upright that way? Try to pry this out now.
The clock is ticking down, and I don't know if the mold's gonna dry in time to pour the foam latex.
It's still so chalky.
I'm just worried about time here.
Okay, I understand you're worried about time.
Megan: Now we don't have time to run foam latex.
It's a whole long process that will take a couple hours to do.
We don't have a couple hours.
I really don't think we're gonna get this done, at least the way that I want it done.
Tom: Megan is not a problem solver.
When the speed bump comes, she panics instead of thinks on her feet.
Whatever it takes, I'm gonna get the prosthetic pieces made for this creature.
My idea is to use gelatin because gelatin sets real fast.
I understand you're nervous about this, but you know what? We've got our faces done, they look great.
Are you blind? This is awful.
This is all awful.
I just don't think it's time to panic.
I would move on to the costuming.
Fine.
All right, I'll stick to costuming.
That's what I do, I stitch and bitch.
Whatever, I'm just an idiot.
Frank's not talking to me.
I extended the olive branch more than enough times.
What do you think we should name her? Something Latin, scientific-wise? The Frankonian Mantonious? No reaction.
Never mind.
Just talking to the wind.
I knew right then and there the team thing was right out the window.
I have no idea what he's doing.
I'm starting to freak out a little because now I'm thinking, like, I'm not gonna go home because of this guy.
Conor: You know what I'm thinking, Jo? What's that? The whole time being in the lab, I've noticed Megan constantly looking over, and I know that she's feeling uneasy that I'm working with Conor and she's not.
and then work together to get this side done.
- Yeah.
- Word.
Jo: You know? I'm not jealous that I didn't get to be on that team.
Can I get a what, what? Wikka-wikka.
But I did want to be on that team.
We gotta start booking on this mold.
Let's set it on the floor.
I'm gonna try and crack the top.
It's not ready.
[bleep.]
It's not gonna pry up there.
It's really kind of scary.
This gigantic mold might be the death of me.
Aw, [bleep.]
.
We're gonna be making quills as we go as well, so Just want to make as many quills as I can.
Even though it was a very simple thing, it was super-important for our makeup.
Really get that point.
Oh, I dig what you're saying.
When I made his quills, I thought it would be best to make them out of friendly plastic.
They're plastic beads, you melt them down in hot water, and you pull them out, and they become clear, like a clear goo.
They're very pliable and moldable.
As they start to solidify, they turn white.
So I know it was going to be the best bet.
I still think it's hilarious how you have managed to pull [bleep.]
together.
Well, it has to be done.
But that's where we're clashing because I don't know, man.
I sculpted, I molded, and now I'm making everything? - What is she doing then? - Texture.
But what's she doing right now? She's working on wardrobe.
So I feel like I'm being made out to be the bad guy here, but I'm doing it.
Hmm.
We're all slightly on edge.
Sam: Our mold is still not yet ready to crack, and it's taking longer than I want it to.
Ah, there it is.
Sweet.
All right, get to cleaning.
I'll pull this guy out.
All right.
Sam: Our models will be here tomorrow, and I'm worried that we're not gonna have a prosthetic to put on them.
Fastest clean ever.
It will literally be down to the second.
We're realizing that we have to clean an enormous mold, and it still had chunks of clay in it.
We're not gonna be able to get it done.
Somebody see how many minutes we have left? - Coming up - This is insane.
This is piss-poor collaboration.
You both had your heads up your asses.
It's such a stunning piece of work.
What the hell were you thinking? Can somebody see how many minutes we have left? Sam: We have 10 minutes to clean an enormous mold, and we're not gonna be able to get it done.
Tate: Ow.
We're screwed.
- Frank: Tate, what can I help you with? - We just need to clean out.
All of a sudden, I just start seeing shadows coming, and everyone swoops down.
They're, like, "What do you want me to do? How can I help?" - Here, move.
- Yeah.
Conor and I were pouring soap because that's no way for them to lose.
Of course, man.
Thank you, guys.
Tate: Everyone helping me like this was awesome.
It was a crazy day.
Gage: Today is a big day.
We were all trying to pull off our crazy ideas.
We've gone through the steps, A, B, C and D.
So today, we need to apply the makeup and focus on the paint job.
Now, all this has to line together perfectly to create the overall image.
Yeah, you're a she.
This creature is back-jointed.
The crab walk was my idea, and I know it's gonna be a risk.
So you've, like, got cricket legs.
Yeah, so literally Yeah.
That's a little crooked.
- It's heavy.
- Do you want me to apply it? This is gonna flop off.
- Not with Telesis 5.
- Especially if we can't You put an "X" across with Telesis 5, that will stay on 'til no end.
I can't put it on his chest hair.
It's gonna hurt him.
Go for it, do what you want.
I'm a team player, and if you're gonna fight me whatever.
My arms look amazing.
Her chest has seams on it bigger than the Grand Canyon.
Follow me with your new face.
Dude, I really need you to start putting those prosthetics on her arms.
- Then just skip 'em, dude.
- I'm not gonna skip 'em.
Then you [bleep.]
do 'em.
So you're gonna [bleep.]
around with the face? [bleep.]
around, dude? If I don't get the rest of this [bleep.]
painted Fine, fine.
Whatever, man, whatever.
We don't have that many prosthetics to begin with, and now you wanna cut four of them out of the mix? Look what's going on across the room.
Tate and Sam have something that I've never even seen before.
You wanna [bleep.]
do details, do details.
Fine.
Yeah, I'm not gonna try and resurrect your shortcomings.
Oh, it's my shortcomings? [bleep.]
you.
Like, you know what, man? [bleep.]
you.
Frank's mentality was "I did my job.
He didn't do his" - Got it.
- Awesome.
I get the piece out of the mold.
It needs to be trimmed, it needs to be patched.
It doesn't have any paint.
We may not be done in time.
We should probably have him go get in his wardrobe.
Uh, yeah, I'm working on it.
This is insane.
Your veins look good, dude.
They're solid.
That's time! Gage: Now we have to relocate to the stage with our models for our hour of touch up time.
We have one hour of touch up.
It's close.
Oh, my God, your mouth ripped.
Okay, I'll glue it down.
Don't worry.
You can still tell it's a baby.
It's cool.
Center.
We're gonna fix this.
It was just panic mode.
Like, I start working on all the quills, while Marcel's spackling over his feet.
Five minutes, everybody.
Five minutes left.
Frank: I'm pretty confident about being able to get it done.
It's not my best work by any stretch, but it's gonna be finished, and that's really all I'm hoping for at this point.
Conor: That's it! Welcome to the "Face Off" Reveal Stage.
Tonight, one of you will be eliminated.
But first, let's say hello to our judges.
Owner of Optic Nerve makeup effects studio, - Glenn Hetrick.
- Hello, guys.
Three-time Oscar-winning makeup artist Ve Neill.
Good luck, everybody.
Creature designer and director Patrick Tatopoulus.
Good seeing you again.
And of course, our very special guest judge this week, Emmy and Oscar-winning makeup artist Michael Westmore.
It's a pleasure.
This week, your spotlight challenge was to create an alien that might actually exist on the newly discovered planet Gliese 581 g.
Let's see what you've all come up with.
Anthony: Joy walks out, automatically I see the seam lines.
I look straight at Ve, and she's sad.
I know what she was thinking.
"How in the hell did you do "such an amazing body paint in round two, "come back for round three, and dare to show me this?" Tate: I knew it was gonna be a risk, but you win big and you lose big.
I'm really proud of my makeup.
I hope that the judges appreciate what I tried to do.
Gage: We did our best, and if the judges like it, then they do, and if they don't, fine.
We're happy with it.
We'll see what happens.
Megan: When my makeup walks out on stage, it is the most disgusting, awful piece of work I've ever seen.
It's awful, it's completely awful.
All right, judges, why don't you all take a closer look? - What is that down there? - It's a fetus.
Tate: The womb is starting to separate from the appliance right in front of the judges.
It could completely be a nail in the coffin.
- What is that down there? - It's a fetus.
Tate: The womb is starting to separate from the appliance right in front of the judges.
Interesting.
Tate: I'm hoping that they award us for trying.
Could you step closer to us? - It's a lot of silicone for one day.
- Oh, yeah.
It's kind of an interesting color decision, isn't it? To go from these grays up here to like a solid white.
Let's see the pieces on the arms? Could you turn for us so we can see your back? Can you move your head and neck a little bit? Just give us some motion, yeah.
Gage: I'm preparing for the worst because I don't know what they're gonna think.
I told Marcel whatever happens, I'm happy that we did this because I love that makeup.
Come into the light.
Those are some gnarly looking feet.
It's a shame that they went and covered up the luminosity of it with the paint.
I don't pride myself in putting a piece of crap in front of those esteemed judges.
The judges have scored your creations.
Sam and Tate Congratulations because you are safe this week.
Please head back to the makeup room.
- Thank you, guys.
- Thanks.
The rest of you were the best and the worst of this week.
The judges would like to take a moment to speak with each of you to learn more about your alien creations.
Conor and Jo, please step up.
First thing I want to ask is what the hell were you thinking, trying to do that level of quality in the time that you had? I cannot believe that silicone looks as good as it does in the time that you had to build it.
I really can't.
[laughing.]
Fortune favors the bold, obviously, because I'm blown away.
I'm most impressed with the silicone work.
There's translucency in that paint, and I like that.
I was especially impressed with the detail you have, the wonderful time and effort that you put in to all those little wrinkles and lines that are in the face.
Patrick: It's such a stunning piece of work, I was wondering, who did what? Jo: I blocked out the back half, Conor blocked out the front half, and did the paint job on it, whereas I did the paint on her arms.
I did the nails.
I'm into fingernails so I love the fact that you actually gave her fingernails, and went so far as to make them different than human fingernails.
That's a really nice little touch.
You did a beautiful job.
- Congratulations.
- Thank you.
- Thank you.
Oh, man.
Frank and Anthony, you're next.
Ve: I don't know what went wrong here, but I'm very disappointed in both of you this week.
- Who sculpted the back piece? - I did.
I think that should have been on her face.
The back piece is quite beautiful.
It's completely lost on this concept you have going here.
The eyelashes are totally goofy.
Who's idea was it for the Spandex suit? Was that a time saving thing? Yeah, a little time saving.
Uh-huh.
From a distance, it reads differently than up close.
Up close, I don't think the sculpting is really creative.
The nose is too human, the lips read too human, the hair doesn't go with it at all.
Overall, it's a little disappointing.
Who did what? Well, I sculpted a five-piece appliance between two life casts and Anthony was only working on pretty much the backpack.
Anthony: And Frank just decides to throw me under the cross-town bus.
If you were painting everything and applied the whole makeup, what did you do during the application process? I was having trouble getting the backpack to go with the Spandex.
It would have been the same problem with skin.
Spandex or skin, it didn't Well, I mean, I didn't spend two hours yesterday walking around.
My parts were done.
He walks away from me and leaves me to just keep going.
You were working on one piece, there wasn't anything else for me to work on.
There was other things that could have been done.
I did ask you and you were Yeah, the last 10 minutes, but anyway I wish there was a better connection and the result would have been better for that reason.
McKenzie: Let's talk to Marcel and Gage.
- Hi, guys.
- Hi.
I like this makeup.
It's very creative.
I haven't seen something like that before.
Who did what on the job? Gage made a bald cap, I sculpted the face, Gage sculpted the back, and then we both worked on the chest, and I did the crotch piece and the tail.
I think you've done a really nice job here.
The airbrushing of the veins on the body, I mean, that takes the time to do.
The albino thing, really well done.
I appreciate the economy of labor.
Obviously, you've got a model with a great physique and instead of trying to cover it all up, you worked with what it is you had.
- Good job, guys.
- Thank you.
Megan and Tom, please take a step forward.
First, if you could, explain it, because there's a lot of color going on here.
First of all, I would just like to say, this is a perfect example of piss-poor collaboration.
She just plowed apart the sculpture on my face.
Megan, why did you change the face? There was no texture.
It looked like a Halloween mask.
As for the paint job, making things translucent just wasn't going to happen and I want to discuss Gage made an entire person look translucent with an airbrush and some paint.
And the reason why the helmet's warped, is 'cause Tom put it on his head to fit it and it was still warm, and it warped.
- I had to fix it.
- That's 100% not true or possible.
You can see that you weren't pulling together.
Probably one of the worst things that can happen as makeup artists because you have to work as teams.
I gotta say, guys, you both had your heads, you know, up your asses, as it were.
There's so many really easy things that you could have done to make this thing look really cool, like glued moss on him, glued dirt things, you know, to make him look like an earthen type character, and you were too busy being pissed off at each other to make it work.
Glenn, why don't you tell us about the top picks.
Our top two teams are Conor and Jo for their illustration of technical prowess and well executed makeup.
And Gage and Marcel for really unorthodox but cohesive makeup, and good team work.
Our top team tonight Conor and Jo.
- Thank you.
- No, thank you.
But there can only be one winner, and the winner is Conor.
Thank you.
Thank you very much.
Rock on, man.
Rock on.
Congratulations, Conor.
You have earned the opportunity to consult with the judges as to who you think should be eliminated tonight.
As for the rest of you, if you would, please head back to the makeup room.
Thank you.
A whole lot of truth just came out on stage.
The judges didn't have to bash you guys, you took care of that on your own.
Conor, who do you think did the worst job this week? I did get a chance to hear and see what Tom was doing, couple that with the way he wasted no time throwing his partner under the bus.
I think Tom is the one who should go.
Thank you.
If you would, please head back to the makeup room.
All right, judges, what are your thoughts on Tom and Megan? Tom and Megan's actually had potential Ve: Yeah, all they had to do was agree on one thing so - They actually failed on all three levels - Yeah, they did.
Because they both touched the sculpture, they both touched - They touched everything.
- So, like, everything was bad.
You can always save a crappy piece with a good paint job, and they didn't even bother to try to do that.
Frank and Anthony.
It was basically a humanoid that they put together, and it didn't really address the challenge that was given to them.
It seems like Frank's attitude sort of steamrolled Anthony.
That's okay if that would have succeeded, then Frank would have been in the clear, but when you take over like that and then it sucks, you're in trouble.
It feels like at one point, Anthony gave up this time.
Neither are good qualities, giving up too soon, and being too overbearing and not knowing what you're doing are equally disastrous.
It's a tough one.
All right, judges.
Have you come to a decision? Indeed.
All right.
Who is going home tonight? Who is going home tonight? Glenn: Tom and Megan, I feel that you spent more time arguing than you did creating this week, and that's a huge problem.
Frank and Anthony, you obviously had an inequitable relationship, and that resulted in an absolute disaster.
The person going home tonight is - Frank.
- Yes.
Why'd you have that reaction? This is a crazy train ride.
I've been having fun, but I feel like I've been taking crazy pills the past week.
From the little bit of time that I've seen you, I think you really have to take stock of your personality.
You have to learn to work with everybody, or you need to go find something else to do.
Nobody does anything alone in this business.
I mean, you're only as good as your help, so a really good lesson should have been learned today.
Well, Frank, if you would, please head back to the makeup room and pack up your kit.
I'm out, bitches, I'm out! - Are you? - [bleep.]
yeah, dude.
Yeah.
- Serious? - Yeah.
Frank, we don't know if you're serious.
No, I'm out.
Frank: The one thing that I'm gonna take from this that's positive is kind of something that I always knew.
I've always kind of struggled with my attitude and with my mouth.
Gotta, you know, kind of buck up and clean up my act.