Face Off (2011) s02e04 Episode Script

Previously on Face Off The artists were faced with a nude body painting challenge.
I can't look at them.
Matt's incredible blend was crowned the winner.
And Miranda was sent home.
Now 11 artists remain.
Tonight, the artists must face their fears in our most disturbing challenge yet.
This place is considered one of the most haunted hospitals in America.
- Oh! - Don't do that! I was scared, I was scared! And it's not long before things start to fall apart.
There's some big mistakes here.
I have one shot to get this right.
I think you kind of missed the mark.
I could care less what you think.
I'm screwed.
There's a pretty good chance I'm out the door.
That's either gonna be really damn cool or it's gonna be a huge disaster.
I'm a huge fan of this makeup.
But to make it to the top, they'll have to impress our award-winning panel of judges: Ve Neill, three-time Oscar-winning makeup artist whose work includes Beetlejuice, and this summer's The Amazing Spiderman.
Patrick Tatopoulos, production designer on this summer's Total Recall, and director of Underworld: Rise Of The Lycans.
And Glenn Hetrick, cutting edge makeup artist on The Hunger Games, and custom designer for Lady Gaga.
Only one will win Face Off.
Hello.
Hello? Oh, my God.
How am I gonna get dressed in 15 minutes with all these girls? So I-I panic.
I'm, like, what in bat-[Bleep.]
is going on? Here we are in the middle of the night in front of this abandoned hospital, and it's just really creepy.
Oh! Don't do that! Don't-- - I got scared, I got scared.
- Don't-- - I got scared.
- Do that.
- I didn't do it on purpose.
The lights are flickering, and I don't even know when the last time anyone's even been in this place, or What's still living in this place, and I don't want no part of it.
Welcome to Linda Vista Community Hospital.
This place was shut down years ago.
It's now considered one of the most haunted hospitals in America.
I brought you here to get you in the mood for your next spotlight challenge.
This week, you will each create your very own horror villain.
Whoa.
All of a sudden, all these words pop up on the walls, and they're all phobias.
Most of them, I just have no clue about.
Scrawled on these walls are some very disturbing phobias.
Now each of you will have to select one, and your makeups should reflect that fear.
All right.
Let's see who's going to pick first.
Sue.
Um Hadephobia.
Hadephobia is the fear of ll.
Oh, I don't want that one.
You picked it.
Beki.
Think I'll take the parasitophobia.
I'm thinking to myself, I might be able to create something pretty cool for the fear of parites.
Ommetaphobia? Ornithophobia.
- Cryophobia.
- Odontophobia.
Some of them were pretty obvious.
I decided to be a little daring, and pick something that I had no idea what it was Xyrophobia? - The fear of razors.
- Ooh.
Athena.
Merinthophobia.
The fear of being bound or tied up.
Xerophobia.
Electrophobia.
Chemophobia.
Okay, everybody.
Now it's time to start your sketching.
But to get you in the mood, you're gonna have to do it alone in the dark.
You'll have 30 minutes to come up with your designs, and then you can head back to the lab, choose your models, and get to work.
Grab your flashlights and go to your rooms.
Middle of the night, the witching hour.
I'm afraid of the dark, so that's fun.
There's nasty stuff around, and we have to sketch in pitch black in haunted rooms by ourselves.
Hadephobia is a fear of hell, and now it makes sense.
I started sketching out this kind of satyr-like being that was just really primitive, and it really scared me, and I was, like, this is gonna be a winner.
Feeling a little creepy in here.
Some kids' toys on the ground.
Not really liking that too much.
I've been on bottom twice, so if I'm on bottom again, I feel like I'm going home.
My fear is odontophobia, which is the fear of teeth.
I'm going with a tooth-fairy-type feel, which is gonna be this demon that, uh, comes around and steals little girls' or little boys' teeth, and, uh, he makes patterns into his skull.
Basically my story is, uh, this girl was raped when she was a kid, and now she finds guys who want to play with her, and she kills them with her ropes.
I picked xyrophobia, fear of razor blades, because if you worked in a hospital, razor blade, scalpel, hey, maybe he's a mad doctor who shoved razor blades into his face and shoved them into his bones.
Afraid of eyes, seeing eyes.
Afraid of seeing eyes.
Afraid of I have no idea what to do with ommetaphobia because Does the fear of eyes mean the fear of looking at eyes? The fear of what they're looking at? The fear of what they look like? Creatively, I have nothing.
- We are done with our half-an-hour of sketching, and it's time to go to the lab.
Thank God we are out of this creepy place.
We have four hours of work today, and my goal is to finish with my sculpture by the end of the day.
This will be one of the first challenges where you can truly see where everyone's skill level is at because this is our first individual challenge.
And I'm gonna really push my concept, and either go big or go home.
As of now, I'm a little lost.
So I figure, well, I'll just start slapping some clay on.
I can figure it out that way.
I'm looking at Beki, and she's like a Speedy Gonzales.
My phobia is parasitophobia, and I plan on creating a gigantic, beautiful parasite.
I just start slam-dancing the clay because You have got to sculpt as fast as possible so that you can have a workable piece.
I get chemophobia, being scared of chemicals.
The idea that I see, I see it right away when I touch the clay.
I almost think this is not fair.
I do chemical warfare and chemical burns as part of my job description.
I chose the fear of birds.
My concept is a guy that realized that he had a-- a-- somewhat of a symbiotic relationship with them, where they live inside of him.
Xerophobia is fear of dryness, so I start thinking of very cracked, dry, husk-like, slipping skin.
What are moisture areas? I think the eyes and the lips.
So removing those could add a-- a cool effect to the character.
Making stuff up as I go.
You're still not happy with your design? I don't have a design yet.
I have a piece of crap.
It doesn't look like anything.
I know it's crap, and I-I still have no idea what to do with it.
Here I am running out of time.
If I don't get my sculpture done Time is up, let's go.
I'm screwed.
Oh, let's get to work.
The challenge this week is to create a horror villain based off of a phobia.
Nice.
As I'm looking around the shop, I have yet to see Tara create something that she feels confident about.
I think just, in general, my head hasn't been in the game.
It's good to walk away from your sculpt and then come back to it.
You see something maybe differently.
An idea finally comes to me.
I start to think about mythology and Egypt, and the all-seeing eye of some kind.
I like it.
- This? - Yeah.
Cryophobia is the fear of ice and frost.
I really want to make a character that has that frostbitten look to him, and I also want to make ice that's not so fake looking.
Hey, everybody.
I am here with Glenn today to do a walk-through, and also our special guest judge this week, Tom Savini.
- Whoo! - Hi.
Tom Savini is, I think, everybody's idol in this industry.
He's created some of the best gore makeups.
ZombiesI mean, to this day, still-hold-up-in-our-industry makeup effects.
- Hey, Sue.
- Hello.
Tom Savini h has one of the best special effects schools, and I went to it.
I wanted this person to have, like, the symbolism of chaos, and just take this goat's head and put it on him.
Yeah, I think it's pretty creepy that this hideous guy, as hideous as-- as he is, decides to wear that.
So you sculpted this really quick, had it molded, and already had the foam ran in it? - Yeah.
- Have you ever seen anyone on-- On this day that's already sculpted, molded, and-- And got a piece of foam back to fabricate them? - I don't think so.
- I don't think we have.
- No.
- In this business, it's one thing to be good, but you have to be good and fast.
Right.
Just the fact that Glenn had noticed how much work I had done.
To me, that gives me a boost of confidence.
- How you doing? - Hey, Ian, how's it going? That's a big wisdom tooth.
Yeah, real gummy looking, uh What does the rest of him look like? The rest of him? He actually has, like, a jedi monk's cloth cloak.
He's got, like, samurai pants, and, uh, even ninja boots, and-- So it just fits in the whole picture to - Yeah.
- All right.
- Hi, Athena.
- Hello.
So tell us about your phobia and your concept.
It's a fear of being tied up.
I'm kind of building this, like, rib cage, but it's gonna be under the skin so it will look like she's slimmer.
I have ommetaphobia, which is the fear of eyes.
She's this Egyptian goddess-- It's a bit mask-y, so how's this gonna work? Well, this is all gonna be an appliance, and then I'll remove the horns and mold those separately.
It is electrophobia and the fear of electricity.
My take on that is, uh, kind of a '30s, '20s psychiatrist who's really into giving electric shock treatment.
Will there be any light integrated into this? I have a-- a bunch of lighting stuff right there.
Oh, okay, so you're gonna try to do some lighting stuff, okay.
All right.
Okay, 'cause you can flash those.
I'm going for it.
Right.
Now I have to make these flash.
So this is pretty cool.
What is this? Where did you get this? I don't know what this thing is, actually.
We found it in the bin over there, and so I thought, well, that would be kind of cool.
Maybe he embedded them into his face along with the razor blades.
I took the lips away and I sunk the eyes in, and-- and kind of let the flesh take over.
It's just a wrinkled, uh, dehydrated being.
That's pretty disturbing.
My guy has basically died of infection of the mustard gas.
The guy that we made grandpa in Texas Chainsaw Massacre, we was a tunnel rat in Vietnam, and he had wounds behind-- Mustard gas.
And it's been 20 years, and they just still are open and sore as if they occurred yesterday.
So tell me about what you're doing here.
This is a frozen surface that's kind of cracking apart? Yeah, 'cause he's got this essential unit that produces this coolant that goes up to his face-- I decided to make kind of a-- A messed up face under a mask.
This is gonna be a makeup, and-- and this raven-like piece.
- Right.
- Well, it's good that you have a solid direction, though, aesthetically.
You're not just kind of poking around in the dark.
All right, gentlemen.
I always like Rayce's concepts.
He's so very, very strong.
And this is the first time we're going to get to see him execute them.
If he can do it on paper quickly, and then nail it, go, sculpt, mold, it's a huge advantage.
So who are you most concerned about? I'm really concerned about Tara.
She has sculpted a female face over the female model.
Why would you sculpt a woman's face over a woman's face? Yeah, when you're not doing anything to it.
There's no travel patterns.
When there's nothing else going on except eyes all over the place.
Now with Sue, there seems to be a-- a gap between the style in which the face is sculpted, and the style in which the helmet is sculpted.
It could end up being a bit of a train wreck aesthetically.
All right, guys.
Thank you, and good luck.
- See you tomorrow.
- Thank you.
- Bye.
- Bye.
Time to make a mold.
When you mold, you put on the plaster, which makes a negative replica.
After that's dried, then you can actually put the two together and pour any material you want in between the two, and push them together, and that creates your mask.
'Ll probably be hella mold makers after this.
- Don't jinx it.
- Ha, ha.
After Glenn and Tom's visit, I start thinking that I need to change something with the little amount of time I have.
Do you think it'd be bad if I chopped my thing in half? Like she had no bottom prosthetic? Ooh.
Yeah, and just use her face? So I chop everything off from the cheeks down, which is good because it's a makeup and it won't look like a mask, and it'll save me time, since I lost so much time figuring out where the heck I'm going with this.
It's gonna be tricky for me to pull off the mold from the replica because my sculpt goes all the way back past the ears, and when you have that much surface area covered, it creates a lot more suction.
Did you get locked? I cannot mess up on the mold because All the time I spent sculpting is useless.
I have one shot to get this right.
Did you get locked? The problem is, my sculpt goes all the way back past the ears.
Nothing? When you have that much surface area, it creates a lot more suction.
But I have one shot to get this right.
- Oof! - Yay! Thank you.
You add blood to it, that's when it kicks.
Little bit of blood goes a long way.
That's what I say.
The good part about being in a solo challenge, I'd say, is the fact that I'm the one sculpting it, I'm the one painting it, and I get to do it all.
Me, me, me, me, me.
No, she doesn't realize it, 'cause she's been lovingly painting it for about three hours.
You, oh-- You're too funny.
My plan was to spend maybe a half-an-hour on this lighting rig.
Best laid plans always go to heck.
Oh, yeah.
I'm tired of this.
If these lights don't flash, I'm dead, dead in the water.
By the end of the day, I'm feeling good.
But I see a lot of sweat, blood, and tears in the mold room.
- You got this guy cleaned out? - No.
So I'm back there helping people get their molds apart, and helping people scrape their clay out.
Aw, Beki, thank you so much.
- Brushes down, it's time.
- Ugh.
Long day.
Glad to be home.
We're just utterly exhausted.
We're so brain-dead, it-- It's horrible at this point.
You thought Glenn didn't like yours, why's that? He didn't really say too much.
I feel like they were all disappointed in me.
I feel really bummed out.
- Aww.
- I hope they like it, though.
My character does make sense, I hope they get it.
I-I really do.
Kind of nerve-wracking.
Who do you think is doing really well right now? Honestly, I've been so into my own thing, I have not had ten seconds to even look around.
Well, I notice that you always tend to sit next to Beki.
No, I don't.
That's an insult to think that I would even care about her [Bleep.]
.
Why do I like that desk? Because it's closest to the products.
I've been in the top twice already.
I could care less what she's doing, honestly.
Brea sat all day long next to me.
Brea said she was confident all day long.
"I am confident.
" "I feel good about it.
" "I-- This is good.
This is a great makeup.
" Out of-- I mean, there's-- There's how many of us? 11? And ten of them are good in different ways, you know? And then there's this one.
I'm not very impressed with Brea.
She really doesn't have lab skills.
She's a little too overconfident in her abilities, which is always, you know-- Can lead you to a disaster.
It's application day now.
We have four hours for application, and then one hour at the studio for final looks.
- Comfortable? - Yeah.
Today, I've got to get the application done in two hours because it's gonna be an elaborate paint job.
I was a little bit concerned about your breasticles coming out so - No saggy boobies today.
- No.
I might have to have your help.
Do you wanna help me? Now we're gonna grab here.
Okay, got that.
I still have to make my horns.
I need to attach the horns.
I have to make her weapon.
I have to apply her face.
I decide that I need to start making eyeballs, 'cause I figure it's fear of eyes, so you gotta have some eyeballs somewhere.
I kind of want it to be a little softer.
I think I'm gonna make a new one real quick.
It'll take about 40 minutes.
I make this last-minute decision to pour a new silicon face that would be perfect--perfect color, perfect consistency.
It's gonna be a little less pink this time too.
The time I lose pouring up the second face, I'll make up in having to paint less of it because if I get the color right, I'll have to put hardly any paint on this.
Looking at my model, I just don't like him.
I need texture on his stomach, and I had the idea of using cling-wrap.
And I cling-wrapped his whole stomach to give him, like, a wrinkly, creepy texture.
Hopefully it works out.
This is just gelatin, like jell-o.
I'm using gelatin to burn her head.
It looks very realistic.
The textures of it, the shininess that it brings.
It really creates a burnt look.
At the two-hour mark, I realize I'm having some problems with the edges laying down.
This is all taking time away from the paint.
- You okay? - Yeah, why? 'Cause you don't have a face on her yet.
- The face is the easiest part.
- Okay.
I can do the face in ten minutes.
RJ forgets I been doing this for 20 years.
Fifteen minutes, everybody.
I'm hoping the second silicon face that I poured is going to be perfect.
I will not know until I get to stage, as I'm not going to open the mold until the last second.
Time's up.
Jerry had decided to run a completely new face.
Well, that's either gonna be really damn cool, or it's gonna be a huge disaster.
Coming up The guy's, like, sweating like crazy.
My character's neck's just wide open.
I love it.
He's stunning.
It's awful.
I think you kind of missed the mark.
There's some big mistakes here.
Last looks is the most intense part.
You really find out what you can do in an hour.
Damn, it is hot in here.
My guy's, like, sweating like crazy, and the neck's, like, straight-up blown out, dude.
So I decide to bring the whole mold, the new silicon piece, and I want to give it as much time as possible to cure.
I'm hoping that it's better than the first one I ran.
I'm really worried.
If the piece doesn't come out, I'm thinking there's a pretty good chance I'm out the door.
[Bleep.]
, it's a little too gooey.
Think I'm gonna go with the other one.
I don't know what happened here.
I justBlew it.
That's time.
Welcome to the Face Off reveal stage.
Tonight one of you will be eliminated.
Say hello to your judges.
Owner of optic nerve makeup effects studio, - Glenn Hetrick.
- Good evening.
Three-time Oscar-winning makeup artist ve Neill.
Hello.
Creature designer and director - Patrick Tatopoulos.
- Hi, everyone.
And joining our panel this week, special effects makeup artist and horror icon Tom Savini.
Hi, thank you, thank you.
I can't wait to see what you've come up with.
So this week your spotlight challenge was to choose a phobia, and create an original horror villain that represents that fear.
Let's see what you've come up with.
First up, Sue.
Individually, the pieces look great.
But as a whole, I made some bad decisions.
I feel great about the way my model is moving.
All in all, the total concept, I think, looked great.
I can only imagine if I had actually figured out what I was gonna do a little bit quicker, it could've been leaps and bounds ahead of where it was, but it looked pretty good.
I actually like mine.
He may be not as creepy as he could be, but it's my aesthetic, I-I think he's beautiful.
The character's looking good.
The only problem is, on that neck area, and the appliance is just wide open.
I could easily be on the bottom for that.
I look at him, he's all slimy and gross looking, but some of the teeth were falling off, and I-I just don't know what to think at this point.
I'm happy with the work that I created solely on my own.
If I go home over this, then I'm okay with that.
My villain comes out, and she looks strong, sexy, and really freaky.
Seeing mine walk out there, I feel like a father, like I'm very proud of this creature.
It actually doesn't look as bad as I thought it would.
I mean, it's basically only three colors, but It kind of works.
Some of the villains are a joke.
Maybe they would work better at a Halloween party.
But to me, they're making me even more comfortable at where my makeup is.
All right, judges.
Why don't you take a closer look? - Is this foam? - Mm-hmm.
- It's just polyurethane.
- Polyurethane, yeah.
Can you open and close? Oh, that's cool.
YeahOh, I didn't see that.
- Yeah, yeah, look at that.
- That's nasty.
See what she did? She ended it there.
Yeah, she got rid of the lower piece, which is great.
That's pretty cool.
Yeah, yeah.
It's coming loose back here too, the bald cap.
You never want to see the exposed skin or flaps of tissue hanging off, and that's exactly what his neck looks like.
There's no way I can get away with it.
With these judges, you think you know what they're gonna like It's coming loose back here near the bald cap.
But I'm the only one that has an appliance falling off.
Can you turn a bit this way, please? How does that mouth move? She was trying to go for an emaciated look, but she's grown the ribs the wrong way.
They're coming towards us.
Can we see the top of your head? - That's fun.
- Yeah.
I'm thinking, well, they'll like the flashing lights.
They like shiny objects.
This anatomy concerns me a lot.
These teeth are so far out.
Well, the judges have scored your creations, so let's find out what they thought.
Beki Brea Ian Rayce Athena Jerry You have this week's best and worst looks.
The rest of you are safe.
You can head back to the makeup room.
Thank God.
This is first time safe, and it's-- Makes me feel happy.
Yeah, it's nice back here.
The models are all in their line, and I notice my model's not there.
So, Ian Your model had an allergic reaction to the makeup through no fault of your own.
But for safety, we had to remove the makeup, and the judges will be using a photo for reference.
All right, the judges would like to speak with each of you to learn more about your work.
Beki, please step forward.
Uh, I didn't know, honestly, looking at your work, where this was going to end up.
I love it.
You can't even tell that you busted them out that fast.
That is an honor to hear that from you.
I think that you did a really great job.
I love the color scheme.
I like all your little iridescent paint.
She's truly frightening and a good phobia.
Thank you very much.
I'm a huge fan of this makeup.
You paid attention to some of the natural elements in there, and translated to the character.
Great work.
Thank you.
Beki, thank you.
Will you please step back? Good job.
Rayce, you're up next.
Ugh, technically, you're lifting in a lot of places, your edges are really poor Yeah.
But I think it's a really cool design.
It's really different, I haven't ever seen anything like this.
Uh, Rayce, I think this was the coolest silhouette today.
Walking on stage, I think it'd be, actually, a fantastic monster frankenstein to me.
- Thank you.
- Great stuff, Rayce.
I would have taken half a cup of diamond dust and poured it over him, 'cause every time he moved, there'd be this sparkle of frost all over him, you know? But visually he's stunning.
Thank you.
Guess the judges were able to look past the application and see the actual design of the character, which is what I had hoped they would be able to see.
Athena.
This doesn't really invoke any kind of terror or horror elements to me at all.
I think you kind of missed the mark on the challenge.
As far as your prosthetics go, I just think your technique is on the soft side.
I heard that you're a terrific body painter.
Well, I actually wanted to get out of my own comfort zone to try something different.
For me, I wanted to see more swelling and that redness, and even directionality of the rope bothers me.
It seems thrown together.
There's some big mistakes here.
All right, Athena, thank you.
If you'd please step back.
Thank you.
Jerry, will you please come to the center? Tell me a bit about your concept? She is a psychiatrist from the '30s who embedded herself with electronics.
I just spent all the time getting the lights to flicker and work.
I know it took you a long time.
I wish-- For me, I wish you had pushed more toward the makeup effect per se than the actual prop build.
When I think of electricity, I think of movement, and sparks, and smoke, and electricity should affect the flesh more with more black.
The burns are Black and red as well, you know? There's just so many cool things you could've done, and it doesn't say burn at all.
Jerry, if you'd please step back? Brea, let's talk to you.
So, Brea What were you thinking of when you did this scenario out here? I don't know, like, the cheeks were melted away, and you could see the inside of her mouth.
But they're not even in the right shape, honey.
And you can see her whole mouth.
How was that supposed to work? I just-- I don't know where this went so wrong.
I had hoped for a lot more.
The little cutesy face.
It's so cute, it's hard to inspire fear.
It's awful.
All right, Brea, if you would please step back.
Thank you.
I'm just utterly in shock, because honestly I think it looks like something you don't wanna come across in a dark alley.
Ian.
Can you start by telling us a little bit about the concept of this makeup? My, uh, phobia's odontophobia, which is the-- the fear of teeth.
I chose to go with a tooth fairy, and the female's been done a few times, so I chose to go with a male, who is a demon.
Really like this makeup.
There's a really nice attention to detail.
The saran wrap.
A quick way to fabricate and cover huge amounts.
It's a little-known technique.
This is the best thing that I've seen out of you so far.
I gotta say, my mouth hurts just looking at that guy.
And his fingers were so gross, I just went, oh, this is so wrong.
- Wow.
- Great stuff.
I just-- I really do love that paint job.
Thank you, sir.
Sorry I'm grinning like an idiot.
Ian, could you please step back? Thank you so much.
- See? - Thank you.
All right, everybody.
The judges have heard what you've had to say.
If you would please head back to the makeup room while they make their decisions.
All right, so let's start with the works tonight that you liked the most.
Why don't we start with Ian? I was very impressed with his work tonight, and he's fairly young in the makeup world in some ways.
And the fact that he was able to take that concept and hold onto it so strongly, immediately develop it, and just run with it, very impressive.
The use of the saran wrap, extremely important.
That was so cool.
That saran wrap.
I got up there, and I said, "what did he do on that chest?" "That is so cool.
" He's very inventive.
He's like the MacGyver of makeup.
You can't teach that, so that-- that's awesome.
- It's in him.
- Yeah.
Okay, so let's move on to Beki.
She's a force.
I mean, after seeing her in the shop, I think she's very driven.
The colors were beautiful, the paint job was exquisite, and it was a complete picture.
Okay, let's move on to Rayce.
This guy's such a strong designer.
Yeah, I'm a big fan of conceptual people that just kind of bring it on paper, and just carry on the vision all the way to the end.
- He's one of those guys.
- Yeah, I liked it.
Like I said, it was visually stunning.
Okay, so let's discuss the looks that you liked the least.
Let's start with Athena.
Those prosthetics were so bad.
We didn't ask to do body painting today, we just asked to do a good paint job on the makeup.
- Makeup effects.
- And so It's kind of strange.
It's sort of a-- If it's outside of your comfort zone, you're in trouble.
Exactly.
Okay, so let's move on to Jerry.
You spent all that time just so we could see some flickering lights, when you could've been doing a better job on your makeup? You know, that's ridiculous.
I didn't see that it was a, uh, electrical burn anywhere.
All right, let's move on to Brea.
Brea has gotten really lucky 'cause she's been with some really good artists, and today, chipmunk cheeks with the teeth-- - anatomically, it's just not right, you know? All right, judges, have you made your decisions? - Yes.
- Okay.
- Yes, we have.
- I believe we have.
Then let's bring them back out.
Glenn, why don't you tell us about the top looks.
Our top looks tonight are Ian, for great attention to detail, without losing your overall concept.
Beki, for a very successful realization of the fear of parasites.
And Rayce, for an exceptional design.
All right, Glenn, then who is the winner of this challenge? The winner of tonight's challenge is The winner of tonight's challenge is Ian.
Thank you so much.
Oh, my God.
I thought I could ver, like, do anything right.
I was-- I was terrified.
And I-I-- thank you all so much.
Top looks this week was me, this guy.
.
- Ian, congratulations.
- Thank you.
You can head back to the makeup room.
Good job, guys.
I really thought I was going home if I didn't make it this time.
But everyone loved it.
Yay! I did good.
Beki, Rayce, you are also safe.
Please head back to the makeup room.
- Thank you.
- Thank you, everybody.
- Thank you.
- Thanks, guys.
Unfortunately, that means the three of you are on the bottom this week, and one of you will be eliminated.
Will you please step forward? All right, Glenn, why don't you tell us about the bottom looks.
Athena Your poor sculpting lead to an uninspired horror villain.
Jerry, you needed to spend more time on your makeup and less time on blinking lights.
Brea, you had good ideas, but your makeup suffered from poor execution.
So then who is going home tonight? The person that's going home tonight is Brea.
Okay.
- Sorry.
- It's okay.
Well, thank you anyways, it was a pleasure to be here, and I appreciate the opportunity.
Brea, I am so sorry, but you have been eliminated.
If you'd please head back to the makeup room, - and pack up your kit.
- Bye.
Good luck.
So I'm going home.
Are you serious? There's nothing I would have changed about that makeup.
I'm-- I'm completely happy with it.
I'm not ashamed at all of it.
The experience of being here was amazing to me.
All the people that I met were great.
And, hey, it'll be something I get to tell my grandkids about.