Face Off (2011) s02e07 Episode Script

Previously, on Face Off The artists tackled old-age makeups on triplets.
How much more difficult could this possibly be? Sue's realistic sculpt took her to the top.
- And Heather was sent home.
- Damn.
Now eight artists remain.
Tonight they'll face a challenge unlike any other.
Yes.
I have to up my game now or I'm going home.
Sue's sculpts suck.
I'm sorry.
I don't know what to do.
My makeup's gonna be a catastrophe.
This is an utter disaster.
On stage a shocking twist is revealed.
Oh, [Bleep.]
.
I feel like I'm gonna go home now.
Very, very inventive.
It looks like a big Halloween mask.
What the hell am I doing? And to make to the top, they'll have to impress our award-winning panel of judges.
Ve Neill, three-time Oscar winning make up artist whose work includes Beetlejuice and 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 make up 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 re-invented And $100,000.
Only one will win Face Off! Another morning, another person gone.
I can't believe I made it this far.
Everyone here is a hell of an artist.
It feels great.
Oh, I just want to hold on to this win as long as I can.
I'm so happy I finally proved myself.
It's very interesting that they had sculptural critiques for me and they had no sculptural critiques for Sue, and it's a horrible sculpture.
You could never put that on a film.
I absolutely should have won that one.
I feel like I got my revenge.
I feel like I shut a lot of people up.
It's that drive, being humbled and then rising to that occasion.
It's getting to the point where you have to up your game or you're the one who's going home.
- All right.
- Yeah.
- Let's do this.
- Ha ha.
Whoo! - Whoa! - What in the hell is that? - Wow.
- Nice.
We walk into the lab today, and there's a hovering police car and drawings.
Really elaborate pieces.
What the hell is this from? - Wow.
- I want one of those.
- I wanna ride in it.
- Hey, guys.
Hi.
So these incredible concept sketches are actually designed by our special guest for this week's spotlight challenge.
Ooh, nice.
There are these beautiful sketches.
We're just stunned by how cool these drawings are.
This police hover car was also from the mind of today's guest.
This will be featured in the new Total Recall film opening this summer.
- Yeah! - Total Recall.
- Oh! - Ooh.
Total Recall is one of my favorite movies.
I love all the different mutants and the aliens.
You'll each select one of the drawings to serve as the basis for your work this week.
Which is To create an original alien.
Yes.
Finally.
How awesome.
I'm so excited.
So let's go ahead and bring out our special guest-- The production designer on the upcoming Total Recall.
Oh, my gosh.
Patrick Tatopoulos is the best of the best.
So if he's gonna say anything about my work, I'm gonna listen.
Hello, guys.
Thank you.
Thank you, guys.
Patrick here has collaborated with all sorts of artists and directors.
Today he's going to be working with each of you.
He's not just a guest.
He's also going to be your client.
This is awesome.
Holy schnikes.
Patrick, he's so cool.
And the idea that we're gonna get to talk to him even more is really cool.
Now after you've had a chance to work on your own designs, Patrick's going to meet with you and chat about your ideas.
Okay, tell us just a little bit about the designs that you brought in today.
The first one on the right is more of a bat kind of a creature.
Probably lives on a planet that's got expanses that he can travel through.
But the second one is more obvious.
There's a bit of a cyborg vibe to it.
The no face, no eyes kind of thing.
It's more traditional in a way.
Third one is kind of like a werewolfy bat creature, yet introduce hair which is very rare on alien creatures.
The very last one is also almost a kind of a cave dweller.
There's a lot of flying creatures in here so the wings are going to be something to play with.
All right, guys.
Now that you know more about these concepts, you're going to each need to pick a model and a sketch.
First up Matt.
Ooh, I would not have gone for that one at all.
- Mm-mm.
- Sue.
Rayce.
Oh.
Right up Rayce's alley.
Jerry.
I'm kind of feeling it.
Ian.
Competition's on.
RJ.
Beki.
Tara.
I think I'll do this one.
Okay, so Patrick what are you gonna be looking for from these guys? What I really would like you guys to do is bring it a little further.
That's the way I work with my team usually.
Every artist can actually bring something to the table.
I'm really looking for that from you guys.
So after you've had a chance to work on your own designs, Patrick's gonna meet with each of you to chat about your ideas.
Good luck, guys.
'Cause your time starts now.
We have 1/2 hour to sketch.
The design is important because you need to know where you're going and what steps you need to take to get there.
I took Patrick's image, put it into the program, used the tablet to draw what I want to change and that's how I design most of my makeup.
I'll take a photograph of the person and then just literally draw on top of their face.
My character is really big and scary and this monster type thing.
I really like the arms on this guy but I've never made arm extensions before.
And I'm, like, "well, how can I do this?" - My design, it's very bat-like but I'm keeping it feminine.
And I'm gonna have a big, pointed head and giant ears coming out.
I'm nervous as heck, it's gonna be a hell of a challenge to do this.
I was on the bottom last time.
I have to impress Patrick this time.
While I'm conceptualizing the creature, I'm thinking about going with a very sterile albino look to it.
I knew that would be unique compared to the rest of the creations.
The creature that I chose was a cyborg.
I liked the idea of the tubing going on in the picture.
And so the sculpt itself will have tubes that go on the face, that come down into the body.
I feel that flipping the gender from Patrick's male to female will make it even more my own.
I know this is gonna be challenging, so immediately I just start sculpting and I'm trying to do this as fast as I can.
Because I need to get the face sculpted, molded, and ready for foam by the end of the day so that tomorrow I can have the face all done so I can pre-paint.
Whoa! Oh, that's cool.
You just drew that on the computer real quick? You crazy freak you.
I wanted to keep it kind of where the eyes are distinct, and I like all the appendages.
I just wanted to bring them down, almost like a suit.
Wow, that's a lot.
My creature's a bat so he could be more humanoid, not so elaborate.
Plus it's a girl-- I could sleek her down, you know? Ian is stressed.
Ian's always stressed.
You know, that just his schtick.
Make her a sexy bat.
I don't want her to be sexy.
I want her to be creepy.
Then make her a creepy bat.
I'm not very good at making very mean faces, so it's funny-- I have to like really force it to be mean.
These are not the "phone home" kind of aliens.
These are the "I'm gonna eat your face and talk to you later".
The "you are lunch" alien.
My design is fairly close to Patrick's.
The face is going to have layers of vacuform to make it look like you're seeing through a clear pectin.
So I'm going to go in a b-movie monster direction.
Patrick coming over for the client meeting soon.
I'm worried my design is too complicated.
That is a ton of appliances.
I'm not sure I'll be able to finish in time.
It's gonna be a catastrophe if it doesn't work.
There's no way, dude.
- Coming up.
- Sue's sculpt sucked.
Jerry is on fire today.
- Hard as a [Bleep.]
brick.
- Shut up.
I think that you've missed the mark here.
I'm so impressed.
Well done.
I can't figure out how the hell I'm gonna do this.
I'm sculpting a giant cowl piece that has really broad shoulders to get that big haunch.
Bringing Patrick's drawings to life is really difficult with all of these separate components.
I think I made my design way too complicated.
Patrick walks in, and I'm very eager to make a great impression seeing as Patrick's our client.
- Hello, Matt.
- Hi.
Tell me a little bit about it.
It just says nightmare to me when I see this.
It's very dark.
I was thinking maybe going completely different and going with a light tone, like a real sterile feel to it.
Mm-hmm.
When you work on film and create, like, an albino creature, bring a little brown and sepias to it so it doesn't look so bright.
- Yeah, something to think about.
- Mm-hmm.
When I look at a design like this, it's interesting, but it looks a little too tight.
It starts looking definitely like a man.
You want to emphasize that whole humpback thing.
You're gonna need mass.
Every time Patrick judges, he always brings up silhouette.
He really liked what I did, and he said it also changed the profile, just like he always talks about.
I'm definitely feeling more confident.
What I would like to do is create these arm pieces that will come up out so it almost seems like her arm is powered with something.
Got you.
Yeah, like almost blackish colors-- - Yeah, right.
- Coming up and around.
What I'm really working on is what I'm gonna build, how I'm gonna build it with the time allowed.
So, yeah, tell me.
I'm gonna give him some jeans, that fell down a shaft and-- - Turned into-- - Somehow fell into something.
Good, that sounds exciting.
I love that.
I kind of like this idea of this red character with some of these, you know, just some browns and some grays.
Yeah.
What do you like about this? What's inspiring you? You know what's kind of fun is that it's a really mean face, and I don't really do many mean faces.
So I decided that he's an alien that's living on the street as a man, and he's transforming.
There's gonna be a lot of fabrication.
I found these in the back and I'm, like, it would be pretty cool to somehow extend the arm, - just starting from here.
- I like that, and you know, you have that choice because those hands are not very human, so you can make those claws much simpler.
Patrick loves the fact that I'm gonna try to do arms.
He thinks if I pull this off it'll look really great.
Hopefully it'll work.
I'm a little slower than most people at fabrication so I'm just gonna stick with the head and I wanna spend more time on the costuming.
I see.
If we went in and started drawing on top of this and came up with something like a dinosaur kind of thing coming out of the top of the head.
Yes, expanding the head and face.
Yeah, yeah.
Thank you very much.
I appreciate it.
All right, good to see you, RJ.
I designed this creature that has all these spikes coming out of the back of the head.
So for day one I need to figure out how I'm gonna do this.
So I'm making plastic spines first because I have to see stuff on my sculpture and see the whole picture before I start sculpting.
So at least I know that I have something.
I start to try to make these arms really huge, and I think that would really add something cool about this character.
God help me, I hope this works.
You so crazy, girl! I know, I know.
I don't know why I chose a bat.
Ian is very insecure with his talent.
He second-guesses himself all the time.
I'm just trying to figure out what my niche is gonna be, 'cause everyone's got some bad-ass thing going.
Ian's worst enemy is his own insecurities.
I really hope he can learn to get over that.
The front of my head mold is huge.
I'm being very ambitious.
I need somebody to smack me in the head next time I make a big sculpture.
The X factor isn't even on there yet.
The one thing I have up my sleeve are these spines.
Because no one else is doing so much applique work.
I'm a little worried for Sue because she's spending a lot of time just on the head and she's counting on the intricate little nail details to really pull it out.
I'm just worried that it's not gonna be conceptually strong enough.
Look how cool he's gonna look.
Wait, how are you gonna do all that? I'm not.
I ran out of time on the last individual challenge and now I'm planning on doing four more pieces? And there's a part of me that's, like, "what the hell am I doing?" You know? Sue's sculpt sucked, I'm sorry.
It was-- It was awful.
We're in the mold room, and everyone was stressed out but Jerry is definitely on fire today.
Some people have obviously been sculpting for 20 years and some have been sculpting for six months.
I don't know why Jerry is so degrading of Sue.
I was shocked that I was criticized on parts of my sculpt and Sue wasn't.
For Jerry to say that he should at least win something Especially if you have the most experience you should be winning everything.
I shouldn't say it sucked, I should say it's too cartoony and Halloween for my taste.
God bless him, but don't degrade someone because you're feeling threatened.
Hey, guys.
Time's up, that's it.
Time's up? I've got a lot of mold making to do tomorrow.
I'm a little nervous about that.
I've never made such a big foam piece.
I'm really curious to see how it moves and comes out.
Today's second day in the lab and we only have ten hours to do a full creature.
That's no time at all.
We walk into the lab, and the first thing I do is check on the arms.
Oh, [Bleep.]
.
I open them up and, ugh, it's all pieces.
The mold didn't fill up the way I wanted it to.
Well, that didn't work.
- Well, that's a [Bleep.]
bummer.
- Yup.
It wasn't just a lite bit.
It was an epic fail.
It's not even together at all.
It's just bad.
The arms are the most important part of my makeup.
I'm 90% sure I'm going home.
Oh, no.
Well, that didn't work.
First thing I do is walk in and go check on the arm situation, and I open them up, and, ugh, it's all pieces.
Well, that was a long shot anyway.
I was worried about the claw, and sure enough the mold didn't fill up the way I wanted it to.
So next thought is I can make the arms again.
But I'm not sure if I'm going to have enough time to get them sculpted and molded before the end of the day.
Once you're sculpture is done, you need to mold it.
The mold will capture all the information from your sculpture.
I need to get the face prosthetic molded and the entire back of the head by the end of today.
Nope.
Yeah, [Bleep.]
it.
I go back to check on the mold, and I can see on the inside of the pods that the neck is cracked.
At this point, it's just too late for me to run this piece in foam.
So I decide that I'm gonna run it in polyfoam, which dries very quickly but it's not as flexible as foam latex is because there's no latex in it, it's just the foam.
What are you gonna do with that? It's his arm extension.
But I mean what are you making it out of? - Polyfoam? - Oh, yeah.
It's what I have, so I figure it's better than nothing.
And it's actually coming together.
And then all of sudden, the mold collapses.
Oh, my gosh, this is an utter disaster.
Fail.
Epic fail.
What happened? The mold just fell over and collapsed.
There's no point in trying to rescue that any further.
It's-- it's gone.
I've lost the fight.
My creature is not gonna have arm extensions.
Okay, guys! Time! Today is application day.
We have four hours for application and then an hour of last looks, which is terrifying.
Yeah, it's beautiful.
- Hi, I'm Sue.
- Linda.
We got a, uh, albino alien cave-dwelling creature.
This is the most I've ever done-- Had to do in a four-hour time span.
It's about eight pieces, and it's a full body paint job.
I am worried, but it has to get done.
- You're gonna be like this.
- Okay.
Except you're gonna have spikes everywhere.
Okay, cool.
So you're gonna be really dangerous.
- How are you doing today? - I'm good.
- Good.
- How are you? I've been better.
This piece did not come out at all.
Immediately I can see both ears are missing.
They didn't fill.
My edges are really thick.
It's got a huge tear from the shoulder to the neck.
It's [Bleep.]
up.
Salvaging it is gonna take most of my time.
It's comfy.
- It should-- Yeah.
- You did a good job, Jerry.
I feel great.
My pieces are all done.
It's just a matter of putting them on and painting.
Oh, there we go, there we go.
All right.
I don't know what I'm doing I'm trying to go for speed today so I have enough time to paint, because I don't have arms and I don't have much cool craziness going on.
So I'm slapping those things on as fast as possible.
How'd your stuff come out? That head dried up hard as a [Bleep.]
brick.
Shut up.
Because of its rigidness now, it's not fitting properly.
Damn, it's stiff.
I have to figure out a way to attach a strap to the inside of this thing so that it will actually stay on him.
The other thing about it is I can't attach the face without attaching the back of the head.
I can't attach the back of the head 'cause I can't force him to sit in that all day.
That means the face and the head are just gonna have to wait until the last looks.
It'll look like a scar.
- All right.
- But it won't look like a tear.
- All right.
- A scar is fine.
I'm doing everything I can to hold this thing together.
I take the ears that are torn off and I glue one back on.
And the other one is just not salvageable.
So it's gotta be a wound or something.
As long as I can get the front looking decent, it'll be okay.
Getting that cowl on her, patching it and seaming it Took over three hours.
We only had four hours to apply the makeup.
It's gonna be a hell of a feat if I pull this off.
I'm realizing that time is running out.
I still have to start applying the nails.
And at this point, I can't get my original design with having these extra spines out.
Take a deep breath.
My model is starting to get painted up and I'm, like, "aw, crap, he needs some claws.
" I don't know if I'm gonna have time to do two hands.
Here I am just still sitting on the floor playing with friendly plastic.
Give me your hand.
I'm worried, but it's gonna pull together.
This is what I do.
I'm gonna make it work.
It's gonna be okay.
All right, guys! Everybody, time's up! Done! Put 'em down! Time's up.
I've been in situations like this before and somehow pulled it off.
I still have a lot of cool pieces so I'll make something cool out of them.
Coming up The head sculpt is amazing.
Geordi Laforge, I love you.
Looks like a big Halloween mask.
I feel like I'm gonna go home now.
This is a stellar makeup.
It's very cool.
We have hour left for last looks.
Most people have an idea of where they're going with theirs-- I don't have a clue.
Plus more problems keep coming up like where the cowl ends and my model's skin begins.
It tore right here.
I have to put cotton there and blend it.
I know I have very little time to do all the finishing touches so I'm gonna impress the judges with the paint job.
That's time, everybody! Stop your work! Ugh.
- Oh, damn.
- No! Well This is not what I had envisioned at all.
Welcome to the Face Off reveal stage.
Say hello to your judges.
Owner of optic nerve makeup effects studio, - Glenn Hetrick.
- Good evening.
- Three-time Oscar winning makeup artist, Ve Neill.
Hi, everybody.
Creature designer and director and your client this week, Patrick Tatopoulos.
Hi, guys.
And joining our panel this week, he's a producer and director with an incredible array of awards including a Peabody, a Grammy, 13 Emmys.
But he's perhaps best known for his starring role as Geordi Laforge in the Star Trek franchise.
Please welcome my friend Levar Burton.
Yeah! We've got Levar Burton hangin' out.
Geordi Laforge, I love you.
Thank you.
It's Geordi Laforge.
It's great to have you here with us.
Great to be here, thank you.
All right, so this week your spotlight challenge was to use one of Patrick's concept sketches as the basis for an original alien.
Tonight, we're going to be doing things a little bit differently.
I'm thinking "what now?" Two of you will be eliminated.
Oh, [Bleep.]
.
What? Now I'm scared to death.
I thought there was a possibility of me going me, and now that's double that possibility.
I'm really worried now.
So let's see what you've come up with.
From far away the face looks so strikingly different from the rest of the body.
I'm realizing that, wow, it looks like I almost did nothing.
All the tubes silhouetted nicely.
I'm very proud of myself today for pulling off something so elaborate in a very small amount of time.
I think I pulled off the paint job.
It's not too weird.
And I love the way the red looks because it really stands out.
I botched the paint, but if I were to grade my makeup on the time given Seven? So many points of that makeup I was gonna give up.
It was unsalvageable.
But if I go home, you know what? It's been a good run.
I feel really great 'cause I've accomplished what I wanted to do.
It sticks out, it's exactly what I envisioned.
As my makeup comes out onstage I'm really happy with that silhouette.
That's what I promised Patrick and as far as I'm concerned, I delivered what I promised my client I would deliver.
As my makeup walks out I think, "oohIt's looking flat.
" I made sure to make the skin match and I was really proud of that.
But then the contrast just wasn't there.
Judges? Why don't you take a closer look? Wow.
Could you turn sideways for us, just stand in profile? I'm nervous as hell.
It's hard to tell what the judges are thinking.
I really wish I knew what they were writing.
Try to open your mouth for us.
- That's it, that's it, yeah.
- Nice mouth.
Kind of already there, isn't it? It's just silver paint.
That's cool.
Pretty good move on the mouth.
Yes, it is.
Interesting fissure, you know, the way this is broken up? Yeah, that's cool.
This one is seeing the bottom lip.
There should have been teeth.
He's this toothless green gremlin.
Without the teeth I don't have a fighting chance.
The judges walk up, and I feel awful.
This one is seeing the bottom lip.
There should have been teeth.
I would love to be confident in myself but without the teeth I don't think I have a fighting chance.
What do you suppose all this is-- The chunky stuff? That must be just something he mixed up.
Hmm.
It's too bad he didn't soften the color.
His color is terrible.
Yeah, he should have softened the color.
- Can you see my hand right now? - No.
- How about now? - No.
He won't be doing stunts in this outfit.
Yeah.
I couldn't see anything in the visor either.
I like the fact that it's that dark red color.
That's nasty.
I like the liquid tubes.
That's pretty cool.
Yeah, I like that.
They're examining everything.
I don't think mine's the worst one up there, but unfortunately you see the hands.
She didn't do anything to her hands.
Nothing to the hands.
I'm really worried.
I feel like I'm gonna go home now.
So Levar, you've seen a lot of alien makeups in your time with Star Trek.
How do you think they did? I have to say that the quality of work is really impressive.
Especially given the amount of time that they had to do it.
Great.
Well, the judges have scored your creations so let's hear what they thought.
Beki.
Matt.
You are both safe.
Will you please head back to the makeup room.
- Thank you.
- Good job.
The rest of you were the best and the worst of this week.
So the judges would now like to speak with each of you to learn more about your work.
Rayce, you're up first.
Tell me a little bit about your approach here.
The original sketch had a lot of tubes coming out so I decided to fuse them onto his skin, almost like it was crawling on him.
That is an absolutely impressive amount of sculpting.
To have accomplished in the time that you have.
And it's not just the amount that you did, it's the fact that your symmetry is so tight.
- I'm extremely pleased with it.
- Thank you.
I really liked this.
It's really kind of organic and very superhero-like.
- Really well done.
- Thank you so much.
The design was more complicated, there was a lot of little forms on there that were not really necessary.
And I'm glad you take them off.
It's much sleeker.
Fabulous work.
Thank you so much.
I was really impressed by the eyes.
It was a very unusual treatment.
Very, very inventive.
I really appreciate it.
Thanks, guys.
Okay, Rayce.
Sue, you're up.
I think it was really clever that you took all those fake fingernails and stuck them in there as a quill-type thing.
But I'm really disappointed that you actually did nothing to her hands, not even paint them.
You need to think about when you have a design of a full creature like that to not concentrate on one part and super detail it, because as a design thing it's the biggest mistake you can make.
You forget there is a bigger picture out there.
I've gotta tell you, I think that you've missed the mark here.
And it has to do with anatomy.
I don't see enough of the essence of Patrick's design.
It reads monkey to me.
All right, Sue, please step back.
Jerry.
- Ve, let's start with you.
- Okay, Jerry.
You chose these colors why? I like them.
Well, I think that might have been your biggest mistake.
It just looks like a big Halloween mask to me.
For me I think your color choice indicates aquatic.
The wings, the fins, all of that really said fish to me.
I feel that's a little limitedCreatively.
Like, I'm not gonna do water, blue, demon, red.
It's just not gonna happen.
I think you have to really take into consideration the frames of reference for the audience.
The makeup failed for me.
Even though I think that you had a good idea, it's not the paint for me on this one.
All right, Jerry, thank you.
Ian, you're up.
How do you think that you did? - One to ten? - Overall I'd say five or six.
I disagree.
I think much higher.
I think you're selling yourself short this week.
Heh.
I actually think this is a stellar makeup.
Particularly the color combination.
I love what you did with the paint.
I'd actually love to see a version of this makeup where you had weeks to work on it.
- Wow.
- It's very cool.
- Thank you.
- Well done.
I have three words for you, Ian.
Awesome, bitchin', and groovy.
Thank you so much.
You took my design as an inspiration and you made a design that's about ten times as good as mine, that's the way I feel.
The wings are your design, they were not in the drawings.
That's one of the best part of your makeup.
Thank you.
This makeup tells a story without even saying anything.
The chewed ear-- and I'm so impressed with the accentuation of the shoulders.
Incredibly bat-like.
Well done.
Thank you so much, everyone.
All right, Ian, thank you.
Thank you.
RJ, you're next.
RJ, I want to say you took the design and really got to another place with it.
I wanted you to do that, and I think that's great.
Now, those big arms feel a little bit out of proportion.
They may be a little bigger than they were on the drawing.
But you've got a very cool face going on.
The mouth is functioning beautifully.
Thank you so much.
I think that the head sculpt is amazing.
The back of it reminded me of a Mayan temple.
It's interesting architecturally, you get a real clear sense of anatomy.
I really love it.
Excellent job.
Thank you.
Wow.
Thank you, RJ.
Tara? Well, I'll start off by saying he was supposed to have some arm extensions and then at the last hour it toppled while I was molding it.
What's going on with the mouth? What happened there? Um, I did make teeth as well.
- Uh-huh.
- And When he'd open and close his mouth they were hitting his lips, so at the last minute I ripped them out.
I think you second-guess yourself when it comes to decision making.
It is about time management.
Without the arms and without the teeth, I'm not sure what your design was.
The idea was that he was an alien hiding out on earth as a human.
He was transforming.
I don't see it.
When you have an incident like that and you lose something that's a very specific, iconic part of the creature, what you need to do is bring something else to the table for the client to react to.
Tara, thank you.
All right, the judges have heard what you have to say.
If you would please head back to the makeup room while they make their decisions.
All right, guys, so let's talk about some of the looks that you liked the most.
Let's start with Rayce.
It was really sleek, it was really sparse.
But it had a lot of detail in it.
His paint job is also bringing this whole thing together.
Oh, yeah, it really pulled it all together.
- I mean, you could shoot that.
- Yeah, absolutely.
- That was camera-ready work.
- Yeah.
All right, so let's move on to RJ.
What I did like about RJ is that he tried to do it all.
I agree.
I really do dig the head.
- I think it's interesting.
- Yeah.
It kind of looks like a dinosaur going into battle ready to strike.
Okay, let's move on to Ian.
He spent all that time with all the veining and making it look really natural and really skin-like.
He did not leave any aspect of this makeup unattended to.
- Very cool.
- All right.
Some of the looks you liked the least.
Sue started a great makeup, and she stopped.
Next to Ian, Sue's work really paled by comparison.
I don't see Patrick's design there.
Yeah.
All right, let's move on to Tara.
It feels to me like this creature lost its arms, lost its jaw, but she didn't reinvent I.
I mean, she didn't even fight on stage.
She was, like, "yeah, I know.
" I don't know why she ripped the teeth out.
If the guy wasn't bleeding, why'd you rip the teeth out? All right, let's discuss Jerry.
There's a huge issue with Jerry.
He was unable to deal with criticism from the clients.
Fighting back is not the way you do business.
You can't do that.
Jerry's just not executing any of his makeups with the passion and the level of detail that I'm looking for.
It just seemed sloppy to me, like he just doesn't care enough about the details, about making something pristine.
All right, judges, have you made your decisions then? - I think so.
- I think so, yeah.
- We have.
- Let's do it.
Let's bring them back out.
All right, Glenn, why don't you tell us about the top looks.
The top looks tonight are Rayce.
You did a remarkable amount of quality work with awesome symmetry and great organic design.
Ian.
For a cleanly executed vision that transcended the design.
And RJ, a bold extension of the core elements of Patrick's design, while still maintaining and making it your own.
All right, who is the winner of this challenge? Tonight's winner is All right, who is the winner of this challenge? Tonight's winner is Ian.
Everything about your character worked really well together.
And your paint job, from the colors to the way that you applied it, was excellent.
Thank you.
- Ian, congratulations.
- Thank you.
Patrick actually has a surprise for you.
Congratulations.
You really impressed us tonight.
And we thought you may be interested in getting a couple of tickets to the premiere of Total Recall, and I'd love to see you there.
Oh, my God.
I would love that.
- I--I wanna go.
- Wow, thank you so much.
- Wow.
- Cool.
Pushing through and surpassing my expectations, it feels great.
I think I'm starting to actually believe in myself.
- Wow.
- Congratulations.
You can head back to the makeup room.
Thank you very much.
RJ, Rayce, you are also both safe.
Please head back to the makeup room.
Unfortunately, that means the rest of you are in the bottom this week, and two of you will be eliminated.
Will you please step forward.
Glenn, tell us about the bottom looks.
Tara, you suffered from poor time management, and your decision-making skills let you down from the start this week.
Jerry.
Unfortunately, your painting was the fatal flaw for you this week.
And Sue, you spent too much time on your face sculpt, neglecting the rest of the body.
So who is the first person going home tonight? The first person leaving tonight Is Tara.
You're very talented, but need to learn to trust your gut.
Absolutely right.
Thank you.
I'm going home.
I understand.
I feel like I dropped the ball a little bit the last couple of challenges.
Oh, I wanna hug you.
All right, Glenn, who is the second person leaving us tonight? The second person going home tonight is Jerry.
You had a good design.
We just couldn't get past the way that the paint was applied.
Jerry, I'm sorry that you've been eliminated.
It's been great having you here with us.
Will you please head back to the makeup room and pack up your kit.
- Good luck, Jerry.
- Thank you.
I don't agree with it.
But I'm okay with it.
I go home.
Unfortunately, because of my background of my portfolio, there were certain expectations.
And I did not live up to those My first * is and always will be special effects and monsters and movies and all that kind of stuff.
I'm excited to go out with more confidence and make the career go on *.