Face Off (2011) s02e06 Episode Script

Previously on Face Off The artists were asked to create something beautiful but deadly Oh, my gosh.
On the stage, sparks flew.
Shameful.
I did take heavy direction from Sue.
That's really [Bleep.]
that you're throwing her under the bus, 'cause you have immunity.
RJ claimed his first victory And Athena was sent home.
Now, nine artists remain, and tonight We are not quite done yet.
Oh, hell, she's gonna cut somebody else.
They'll face their toughest challenge yet.
I've got a little something to tell you about your models.
What? How much more difficult could this possibly be? - And the pressure rises to an all-time high.
I think we need to take their teeth casts, and I think we can discuss this afterwards.
I just don't like her attitude.
It's vengeance time.
I'm kind of disappointed.
It just looked bad.
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.
Who will be the next great name in movie magic and earn $25,000 in makeup supplies from Alcone, the reinvented 2012 Toyota Camry hybrid, and $100,000? Everyone's a little bummed about Athena leaving, and it's been a long day.
We are all tired.
We want to go home and go to bed Hey, guys.
And in walks McKenzie.
We are not quite done yet.
- Ooh.
- What? I'm thinking, oh, hell, she's gonna cut somebody else.
Please come with me.
- Oh, snap.
- It's ridiculous.
I don't know what to expect, but this is what we're here for.
I realize it's been a long day, but this is a tough business with crazy hours, so your next foundation challenge actually starts right now.
Crap, we're all exhausted, and our creative, artistic juices are just not flowing.
Let's get to it.
A group of amazon, tall, thin women walk out.
This is awesome, because I've been wanting to do beauty makeup.
All the boys are getting sweaty and clammed out.
Your foundation challenge is to transform these beautiful runway models into unremarkable plain Janes.
Thank God we're not doing beauty makeup.
I'm not too good at it.
Makeup artists are sometimes asked to tone down or completely mask the beauty of a Hollywood starlet.
Some good examples are Nicole Kidman in The Hours, Mariah Carey in Precious, Cameron Diaz in Being John Malkovich, Charlize Theron in Monster.
So in other words, you're gonna need to do a complete head-to-toe make-under.
A make-under.
Now we have a special guest judge here today to give you some advice.
She was the department head on huge movies such as Terminator Salvation, Superbad, and she's most well known for the great make-under that she did on Drew Barrymore for the film Never Been Kissed.
Please welcome Kim Greene.
- Kim.
- Hi.
- Kim Greene is a really well-known makeup artist in this industry, so I'm excited for the challenge.
So, Kim, what does it take to make a successful make-under? Well, first of all, you need to know your character.
Really think about who they are, where they came from, their mental state.
Also, be subtle.
If you add a pimple, don't make it, like, ridiculous.
This is great, because I have a lot of experience on set, so I'm really good at making certain types of girls look like crap.
Okay, the winner of this week's foundation challenge will win immunity and cannot be eliminated.
Your models have been randomly selected for you.
You have two hours for this challenge.
Good luck, because your time starts now.
The first thing I do is run into the back room, check the wardrobe, then grab a wig and decide what look I want to go for.
- My name is Beki.
- Hi.
Alison.
I think I'm gonna go, like, working girl, you know.
I'm using old-age stipple, which is this latex formula that allows you to use that person's skin in the forms of their face.
It makes all those fine skin wrinkles heavier, so it ages the person beautifully.
You'll like looking ugly.
It's gonna be awesome.
Yay.
After what happened today, I really want to win this.
I want that immunity so I'll never feel that unsafe again.
This is gonna be fun.
I have a personal style that I like to stick to, so I start thinking of doing more of a heroin-chic look.
I brought in some, like, acne scarring under the cheekbones and, uh, got rid of her eyebrows.
All right, everybody.
This is your 30 minute mark.
Time's up.
Brushes down.
- Hi, Sue.
- Hello.
Tell us about your work today.
When I first met my model, she was very young, had no wrinkles, very beautiful, and had a great nose, so I gave her some old-age stipple here, here, and on the nasal labia.
I'm not really sure what this is on her nose.
It's a broken nose, almost really thick.
- Okay.
- So I exaggerated it.
Good thinking.
That gives me a back story.
Great.
This is a librarian, and she's so much into her work that she's always sick.
She's got book residue.
You get those brown smudges on your fingers.
I love that you thought through her character, I love that you kept her totally thin, and that really helps her look sick.
She's a small-town girl, and she came to LA to be an actress.
Didn't quite make it, and now she's a prostitute.
She stands on the corner, so we've got lots of sunspots and basic nail polish.
That looks great.
Is this a bruise? That's a bruise, and I did slight veining there.
- That's really great.
- Excellent.
Thank you.
I started with some subtle shadowing around the eyes and nasal labial areas, and, along the way, she kind of turned into a gross character of my mother from 1989.
I don't know.
She is a drug addict/prostitute.
- Really? - Who would have thought? I added the dry, cracked lips.
She also has a tattoo that says "trust me.
" Where does that come from? She's constantly lying, but she doesn't want to believe that that's who she is.
I love the thought process behind the makeup.
Thank you.
All right, Kim, so how did they do overall? You guys did great.
I'm really impressed by the stress that you're put under and that you handle it so beautifully.
Who were our more successful makeups today? Jerry, I loved the detail in the nails and the "trust me" tattoo was a nice little touch.
Rayce, the newsprint on her hands and the capillaries being broken-- Wonderful, subtle work.
Thank you so much.
- Ian, you did a great job.
- Thank you.
I think the texture work was really good.
You did really bad makeup in a really good way.
- Thank you.
- All right, Kim.
Who is our winner today? Rayce.
Oh.
Holy cow.
- Good job.
- Thank-- thank you so much.
Rayce, congratulations, you have won immunity and cannot be eliminated from this week's spotlight challenge.
- Fantastic.
- All right.
I will see you all tomorrow.
- Thank you.
- Have a good night.
The immunity feels good.
I got the top look, and I'm feeling good about that.
We woke up today, and Athena's not here.
She's usually always awake, cooking breakfast, and, like, always a smile on her face.
I think everyone's really missing her.
I think Beki should have went home, but since she had immunity, it saved her ass.
Don't even get me started with that.
The judges gave us some negative criticisms, and then she throws me under the bus.
When Beki and Sue came onstage, you just saw Glenn cover his face.
I know.
I didn't think Beki was gonna do that.
Yeah.
It might hurt her in the later challenges.
The one thing we can't do is throw anyone under the bus.
It's vengeance time, and it's getting real now.
So we walk into the lab, and McKenzie's there, as usual, and it's pretty sparse today.
No-- no crazy animals.
No naked people.
Some makeups allow for a certain margin of error, but today you will face your toughest challenge yet.
Your spotlight challenge is all about old-age makeup.
Old-age makeups require very subtle techniques and understanding how the face and body moves.
It's one of the hardest makeups because there is no room for error.
So before I tell you more, I need you to divide yourselves into three teams of three.
Oh.
Heather.
I hear someone calling my name, and it's-- it's Sue.
Is this cool? I turn around to Beki, and with a pleading look in my eyes, like, like, please, please pick me.
Sorry, Sue.
So the teams are Beki, RJ, and Heather.
Word.
Tara, Sue, and Matt.
I'm nervous because I have noticed that drama follows each partnership Sue has.
And we've got Jerry, Ian, and Rayce.
I couldn't ask for better teammates.
This is a slam dunk unless we screw it up.
Although this is a team challenge, you will be judged on your individual work.
Now let me introduce you to your new models.
- Whoa.
- Holy cow.
We get into the lab today, and we find out our next spotlight challenge is old-age makeup, but McKenzie has a surprise.
Now let me introduce you to your new models.
- Whoa.
- Holy cow.
Ooh.
- Meet your twins-- The Greens, the Tindals, and the Hornbecks.
- Hello.
- Hi.
Now each team will select a set of twins.
You're gonna have to age one of them to 75 and the other one to the ripe old age of 100.
Oh, cool.
So basically, your makeup should appear to be the same person, but at different stage of their life.
Holy Moses.
This is going to be so hard.
All right, so we've predetermined the order in which your team will pick.
Sue, Tara, Matt, you have number one.
Take your pick first.
We choose the boys.
- Ian, Jerry, and Rayce.
- Hornbecks.
Yeah.
I think we'll go with the hornbecks.
We wanted the Greens anyway.
All right, well, I know that this challenge is incredibly difficult, but I've brought in a very special guest judge to give you some tips.
He has worked on an amazing array of films, including The Mask, Watchmen, and A Beautiful Mind.
He's also won three academy awards, including one for his work on Brad Pitt in The Curious Case Of Benjamin Button.
Please welcome Greg Cannom.
When you want an old-age makeup done and you want it done right, you call up Greg Cannom.
He is the king of old-age makeup.
Hi, everybody.
I'm very excited to be here.
So, Greg, do you have any tips to create a convincingly realistic old-age makeup? When you do an age makeup, most people I see do it, they go out, and you can't do that.
You have to build up the clay and everything going straight out that way.
Really make it subtle.
Greg will be joining the judges on stage this week to see your final makeups.
Good luck, because your time starts now.
- Hi, I'm Beki.
- Nice to meet you, ladies.
We only have the twins for 90 minutes, so the first thing is getting their hands cast and their teeth cast.
As soon as this sucker is set, we will take you out of it.
A very simple but effective way to show aging is in the hands and teeth, so it's important for us to get those casts made.
Of course, you guys have big, bright blue eyes, which are really difficult.
'Cause 100-year-olds don't have big, bright blue eyes.
As you get older, obviously your eyes start to dull out, so we were like, oh, God, what are we gonna do? I promise, it will come off.
- Do me a favor.
- What do you need? Get a pen.
Straight away, Sue takes charge, and that worries me, because Matt and Sue are two of the most inexperienced out of everyone.
I think that if we're going to do a multi-piece, um-- I think we need to take their teeth casts first, because we only have and I think we can discuss this afterwards.
Okay.
Tara's a little bit more aggressive on this one.
Guys, I wonder if we should try to get their hands while they're here too.
I think it's better to focus on the basics first.
Teeth and hands are bonus.
See if your hands both fit in there.
Hey, guys, come and gather round.
So we're working on our twins, and McKenzie walks back in.
We're like, oh, [Bleep.]
.
What does McKenzie have to tell us now? How much more difficult could this possibly be? I've got a little something to tell you about your models.
They're not really twins.
Guys, come on out.
- Oh, my gosh.
- What? That's right.
They are triplets.
Your third model, you're going to have to age to 50 years old, so now it is 50, 75, 100.
Now we have three old-age makeups to do, and there's three of us.
All of a sudden, this challenge has just gotten a lot harder.
- Hey, I'm RJ.
What's your name? - Erlina.
Erlina.
Great.
Where did this child come from? 'Cause there's two that look alike, and then the third one comes in, and I'm thinking, y'all playing with us? Our girl is a fraternal twin to the identical twins.
Well, well, well, isn't that special? Are you feeling okay? You look a little worried.
- Are you worried? - Am I worried? No.
If we kind of go a little bit of hippie-- and then we at least have a theme with costume and stuff like that.
We go, like, you know, older granola head.
Our concept for this is, uh, hippie chick.
I choose 100 years old.
Ian is tasked with the 75-year-old, and Rayce has the 50-year-old.
- Okay? - Okay.
You guys have other thoughts? Matt, do you have an idea? What if we just do he's, like, a businessman at 50, so he has a business suit? That sounds great.
I get assigned the 100-year-old, Tara's gonna do the 75-year-old, and Matt's gonna do the 50-year-old.
You got the alginate ready? Sue was saying, do an ultracal.
You don't want to put anybody's hands in ultracal.
That's like putting their hands in cement.
Oh.
We don't pour stone directly over people's hands.
The heat from the ultracal could have burned him.
That's very dangerous.
So you pour alginate over their hands, and then you fill the hands with the ultracal.
Tara gets angry and upset and says, "oh, you can't do that.
" So that starts a downward spiral.
It seems like she wants to take over, but-- She's being real bitchy.
No, no, no, just wrap them in wet paper towels.
- I did.
- Okay.
She snaps at me.
I just don't like her attitude.
I'm a little offended right now.
I-- Hey, guys, that's time! [Bleep.]
.
This is a nightmare.
If we don't pull it together, our make up won't be cohesive at all.
It is day two of the old-age challenge, and we feel great.
We jump right back into it.
Oh, I can sculpt the forehead backwards.
We only have ten hours today, so we just need to get sculpts done.
That's the most important part.
You can see there are some straight lines there, and some of them aren't as wrinkly as we want.
We're sculpting tiny nasal folds and eye bags and a brow piece.
These are very subtle things that can age a person.
The goal is to have all three models aging progressively, the first model being 50 years old.
We're gonna give her a fat suit and some jowls, and then she's an athletic granny and 75, 'cause she needs to lose some of her weight.
That will take her nicely into 100, when she starts to look a little bit more gaunt.
Since we're doing such thin appliances, RJ, Beki, and I have decided to use silicone, because it's more translucent, and it'll look the most like real skin.
Hey, everybody.
I'm here with Glenn and Greg.
We're gonna do a walkthrough and see how you're doing.
Hi, guys.
Hello.
Sue, Matt, Tara.
So how many pieces are you planning on breaking that down into? Two.
I'm going to just get the nasal folds, because they're so heavy, like that.
Okay.
What materials are you gonna use? - We're gonna use silicone.
- All silicone? Yeah, it's a little tough, because we're the ones with the least amount of experience in all of this.
- Tara butts in and says we're the least-experienced group.
Speak for yourself! She's gonna be heavier when she's 50, so we'll be doing these-- Do the jowl and the heavier bagged chin here.
Are you gonna be doing any overlapping pieces too? We're gonna do a forehead, bags, cheek, and jowls and upper lip.
How many pieces are you doing? The 75-year-old only has these four, and neck and forehead, and then the rest is gonna be stippled.
And the coloring and everything, are you gonna really break it up, mottling and-- That's the intention.
As she ages, she'll get Tanner.
So let's discuss Jerry, Rayce, and Ian.
I'm a little concerned at the way that they're approaching the sculpture.
I don't know that they're leaving themselves enough time to get down into the subfloor and the details.
And it's hard by the way they're starting with the wrinkles.
- Yeah.
- That's not the way to do it.
You have to get all the shapes in first and then rough in the wrinkles.
Let's move on to Matt, Sue, and Tara.
I think conceptually, they're the best.
I think the 100-year-old is too subtle and too thin, and it needs to be a lot more jowly with sagging flesh.
So let's move on to Beki, RJ, and Heather.
I'm really concerned about Heather's sculpture.
She's not laying the clay on the right way.
So I think that each team has a couple of really good ideas and each team is making some very serious mistakes.
So I guess we'll see tomorrow.
All right, guys.
Good luck.
See you tomorrow.
Once the sculpture's done, it's time to make a mold.
You cover it in a cement-like substance, let it set up.
Once it's set up, you open it, and that's the moment of truth.
Only one person needs to do gelatin.
It's really frustrating, the fact that they have this, like, bond and, like, talk quietly with each other.
I can't change their sculpts, I can't change their methods.
I'm a little nervous about that.
We've got three minutes.
RJ and I are very worried about Heather's sloppy molding.
Uncomfortable.
- Mm-hmm.
Her work is definitely not conveying an old-age makeup.
That's time! I'm not real confident with how things are gonna turn out.
Let's see what we have for silicone.
Today is application day.
We've got four hours, and then we've got an extra hour right before stage to get everything done.
- That's a good color.
- Yeah.
It's nice.
Come and look at my edges.
My prosthetic has edges that are a mile thick.
I might as well take a sander to the edge of it.
- Hello.
- Here we go.
Hey, girls.
What are you starting with, Rayce? The nasal labials.
I'm feeling pretty good about what we've got going on.
Ian and I start laying down our prosthetics.
Oh, does it tickle? Jerry starts applying his prosthetic.
Even though we haven't been communicating the best, we did decide to place the molds and the sculpts of each of the three models.
It's something that will carry over to make it look like the same person.
You're not doing a bald cap, Sue? - Oh, I'm just-- - Oh, you're just fitting it? - I'm doing the 100-year-old.
I'm going to do a bald cap, but each triplet's hair is so thick, it's almost impossible to flatten it down.
Do you think you're gonna have enough time to help me with the hands at one point? Um, maybe, if I can get that hair done.
One of the strong points of my makeup is showing that receding hairline, but if I do it wrong, it could be a horrible mess.
You all right? As soon as I start to lay the prosthetic down, I notice my model can't handle it.
Okay, I better take it off, then.
I just have to get the makeup off her no matter what the cost.
What am I gonna do? I'm worried that if I don't have makeup to show the judges, I am going home.
My model had a bad skin reaction.
A new model is on the way, but I've got to get this laid down before we go to the studio, which about an hour.
Finally, the new model shows up and, wow, this lady is very tiny, very small hipped.
I have this piece that's been sculpted for somebody who has a much larger head than the person that I'm applying it to.
So what we'll do is try to get this to fit to your facial features as much as possible.
- Look like your grandma? - Yeah.
I'm looking around, and I'm the only one who doesn't have a single drop of paint on my model.
I am totally screwed.
All right.
Hey, everybody, that's time.
We're done.
Let's go.
Her face looked like some botched plastic surgery.
I think I'm going home.
Last looks is a make or break situation.
I need to really pull through on this one.
We shall witness the fastest paint job ever.
Sue and Matt and I have to make them look cohesive, so I'm hoping it'll come together with the paint or the hair.
At least we have the mole.
I have to cut the piece and dart it like a piece of clothing.
Paint only covers so much.
I'm gonna go right underneath your nose area right here, okay? I was gonna do, like, a really light brown.
Time's up, everybody.
You only got one hand on her.
I didn't get any hands on.
That kind of sucks.
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.
Hello.
Three-time Oscar-winning makeup artist Ve Neill.
Good evening.
Creature designer and director, Patrick Tatopoulos.
Hi, guys.
And you've already met our special guest judge this week.
Please welcome three-time Oscar winning makeup artist Greg Cannom.
Hi, everybody.
So this week, your spotlight challenge was to work in teams to create a set of old-age makeups on triplets.
Now RJ, the judges have been made aware that your triplet had to be replaced with another model, so, with that, let's see what you've all come up with.
I'm a little worried about the hair, but I think I'm still safe enough to not be at the bottom look.
Overall, I'm okay with it.
I think mine looks fairly realistic.
I'm really confident in my makeup.
This is the first time where I feel like I'm gonna put my name on this and this can be really good for me.
Overall, 20 feet away, she looks great.
I'm feeling very confident.
It's by far the best sculpture out of any of the 100-year-olds.
It's the only one that looks like a real person.
I am stressed out.
I am starting to profusely sweat in areas I did not know sweat.
She looks decent.
Uh, she doesn't look awful.
Gave it the old college try anyway.
I feel like I'm in a little bit of trouble.
This is the most anxious I've been yet.
I know that she could look better.
Judges, why don't you take a closer look? I think it's a little too subtle.
Glenn just shakes his head.
It's very scary.
It's very unnerving.
All four of them just started attacking.
Ah, crap.
I'm definitely not gonna be safe this time.
So this is the one that had to be all cut - and manipulated, 'cause-- - Exactly.
A different model.
Open and close your mouth as wide as you can.
Well, the judges have scored your creations and would like to speak with each of you to learn more about your work.
Matt, Tara, Sue, you are up first.
All right, so let's start with the 50-year-old makeup.
How do you feel that you did with this makeup, a scale of one to ten? - I'd say about a seven.
- You would, huh? Looks like he might have been bitten by a chia pet.
He looks like a were-chia, sort of transformed into whatever that is.
I want to know why you made the top of his head so tall.
Well, our guys had very thick hair, and so it was really hard getting it down, and-- Okay.
Matt, why didn't you just use his own hair? Uh, I wanted to show some receding.
Oh, dude, you have let him wait till he got older for that business.
Yeah, when I do a 50-year-old makeup, I would never do a forehead on anybody, ever.
I would always keep it very subtle.
All right, let's me on to your 75-year-old makeup.
I don't think the makeup is horrible, but unfortunately the hair is a little bit distracting, I gotta tell you that.
I look at a character that goes from 50 to 75 to 100 years old, your 75 suddenly got very long hair, and it feels like it doesn't belong with the two other guys.
Okay.
All right, let's talk about your 100-year-old makeup.
Sue, how did you guys decide which one of you would be doing the 100 years old? Well, it seemed that the more he progressed in age, it would be more sculpting-heavy.
I feel like sculptins definitely my forte.
It's a very nice job.
Very impressive to me.
This, to me, feels very real.
Good stuff.
I like that you put a lot of character into it, and I love the bald head and everything.
You did a great job.
Thank you very much.
You can step back.
All right, Beki, RJ, Heather.
Okay, let's start with your 50-year-old makeup.
I think that the approach was a good idea.
I think you fell down here sculpturally.
Okay.
I would agree with that.
It looks like she got hit with a frying pan.
This pinched, folded, weird globular mess right here on her face is really a wrong thing to do.
It's so distracting, I don't even know what to tell you.
.
Now let's move on to your 75-year-old makeup.
So can you tell us a little bit about what happened here?? My first model had really violent allergic reaction, so I was just trying to make this work with the shape of her, uh, bone structure.
Everything that you're telling me sounds like an excuse, but it's not, because you managed to take all of those things and turn it into a successful makeup.
The fact that it's not for her face and you were able to manipulate that piece to get it to line up that well, to me, is impressive.
Thank you.
It's interesting.
We say, when an incident happens, sometimes this is where you become the most creative.
The piece literally wrapped around behind her neck, and I cut about a good inch of of both sides of the neck.
- Yes.
- So - Great stuff, RJ.
- Thank you.
Yeah, I thought you did a very nice job.
You did very subtle sculpting.
I really like it.
All right, let's move on to your 100-year-old makeup.
Okay, can you explain to me why it looks so weird? I don't know how else to say it.
I mean, this is all kind of drooping down here and strange It's very-- It got very droopy.
The anatomy's not correct.
It looks more like a zombie makeup, to tell you the truth.
When I looked close at the makeup, I realized that the neck wasn't glued down.
Did you do that on purpose? Um, a little bit here, but I actually was hoping to be able to get it to tuck back in.
It feels to be like a mask for that reason, and because the pieces are floating as well, it doesn't help.
Thank you very much.
You can step back.
Rayce, Ian, Jerry.
Now, as a reminder, Rayce has immunity and cannot be eliminated.
Okay, let's start with your 50-year-old makeup.
Patrick? Rayce, I'm a big fan of you as a designer, but I've got to say, I felt not very, very impressed with the result.
I think's a little too subtle.
Okay.
For me, I would have done more in the area of the nasal folds and everything, and I also would have gone a little more of sunburned colors.
Okay.
Where you applied your appliances, the roughness and the texture says more a disease or ailment than it does age.
- Okay.
- Disappointed.
All right, let's move on to your 75 year-old makeup.
One to ten, how do you think you did? I'd say 7 1/2 or so.
You guys generally overestimate yourselves on these challenges, I gotta tell you.
The tone of her face and her neck are completely different.
I'm already granting you guys certain latitudes in the fact that you have so little time, but coloring right doesn't take any longer than coloring wrong.
When I got up close, it just looked bad, honey.
There's not really any texture to it, it doesn't really have wrinkles, and it looks all splotchy.
I'm disappointed.
All right let's move on to your 100-year-old makeup.
For the time that you had to do this, I think it's, you know, really successful.
I just wish the coloring would have gone just a little bit further, but other than that, I think you did a pretty great job, Jerry.
- Thanks.
- Congratulations.
I'm really liking this.
I think, again, I look at the three of them together, and I can tell the progression.
Thank you.
All right, guys, thank you very much.
You can step back.
All right, 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 guys, so let's start with Matt, Tara, and Sue's makeup.
What do you think? Sue really impressed me this week.
To me, it's one notch higher than most of the stuff I've seen today.
And it was blended really nice too.
Matt's, with the forehead, was really frightening.
It's scary when a makeup artist can't look at that and go, "this isn't working," and not change it.
Let's move on to Jerry, Ian, and Rayce.
Well, I think Ian was-- He's just out of his league on this one.
Once again, if maybe even the coloring had matched up more, you know? Ian has proved to us that he's a very creative kid, but, you know, old-age make up is not about being creative.
It's the technique, the knowledge.
- It's the knowledge - It's experience.
It's experience, yeah.
And I want to give credit to Jerry this week.
I'm always very pleased with Jerry's attitude and work, but this time, I think he did a pretty decent job, no? Did a great job.
All right, let's move on to Heather, RJ, and Beki.
Heather missed the mark on this one completely.
The anatomy was all wrong.
It looked like something that you might see as a joke, like on SNL if they were purposely trying to make someone look ridiculous.
You know, Beki's was just bad choices.
The silicone was hard.
The sculpting was bad.
- The edges were bad.
- RJ, though, high point.
- He really pulled it out.
- Yeah.
Nice and thin, sculpting and everything.
And the other two, just the-- Their-- The sculpting was just non-existent.
All right, then, judges, have you made your decisions? Yep.
Yep, we have made our decisions.
Let's bring 'em back out.
Glenn, why don't you tell us about the top looks? Our top three makeups tonight are Sue, for a very convincing and comprehensive makeup.
Jerry, for a very solid approach to a tough challenge.
And RJ, your makeup, pretty good overall, but particularly considering the obstacles that you had to overcome this evening.
All right, Glenn, then who is the winner of this challenge? The winner of this challenge is All right, Glenn, who is the winner of this challenge? The winner of this challenge is Sue.
It was an extremely strong effort on what was an exceedingly difficult challenge.
Recognition means so much to me, and to have that from four people that I really respect and admire, it feels great.
Sue, congratulations.
You can head back to the makeup room.
All right, Glenn, who are our bottom three this week? Ian, Beki, and Heather.
All right, the rest of you are safe and can head back to the makeup room.
Ian, Beki, Heather, please step forward.
All right, Glenn, why don't you tell us about the bottom looks.
Ian, your sculpture was just too subtle, and you also made some fatal color errors.
Beki, mainly due to the inaccuracy of the anatomy in your sculpting.
And Heather, there were major flaws in both the sculpture and paint approach to your makeup.
All right, so who is leaving us tonight? The person that's going home tonight is Heather.
Damn.
Damn.
Unfortunately, your makeup looked more like a melting zombie than an old-age makeup.
- I agree.
- I'm sorry, Heather.
Heather, I'm sorry, but you have been eliminated.
It's been great having you here with us.
Please head back to the makeup room and pack up your kit.
- Thank you.
- Thank you.
- Bye, guys.
- Good luck.
The hardest part about leaving is just wondering what I could have done It's me.
And if I could have gone farther.
It's meant a lot to me to be part of the competition.
I love effects, and this has only fueled that fire more.