Face Off (2011) s02e08 Episode Script

Previously on Face Off The artists brought Patrick's complex alien designs to life.
I have to impress Patrick.
It's gonna be a catastrophe if it doesn't work.
Despite major problems, Ian claimed victory.
And in a shocking double-elimination, Tara and Jerry went home.
Now, six artists remain.
And tonight They'll face an extraordinarily difficult new challenge.
Oh, my goodness.
What the hell am I going to do? But for some, the intense pressure is too much to handle.
It's fucking horrible.
I hate this.
Are you kidding me? Sue has lost her damn mind.
I'm out of time.
I don't wanna go home for this.
What the hell were you thinking? I could easily see myself being a bottom look.
The build turned into this ballet of idiocy.
And 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 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 and $100,000? Only one will win Face Off! Oh, it's too early.
It's a little weird being only six of us left.
Yeah.
There's only six of us left in the house and it makes the final goal that much easier to see.
I cannot wait to see my boyfriend Be able to call the family Yeah.
At this point in the competition I'm getting really, really homesick.
It didn't matter what I was doing as long as I could go home and see the family and tuck the kids in at night.
You know, that gave me, like, this invincibility boost.
Yeah.
Each day that goes by without them you get, like, just More and more drained.
Yeah, more doubt, you know? More-- You lose that confidence.
It's really hard.
I'm always thinking about them.
I just can't think about missing them.
I want to see their faces every day, but at the same time, I've gotta remain in this competition and I've gotta put all that emotion and just turn it into these characters and really brute force through this thing.
Walking up, we really have no idea where we're going.
We see these giant towers.
Just huge structures, you know? They're pretty amazing.
Welcome to the Watts Towers.
What do you think? It's beautiful.
Amazing.
Once upon a time, this was just an empty ordinary lot, indistinguishable from anything else around it.
But with imagination and vision, it was transformed into an urban artistic oasis.
Turning something mundane into something actually quite extraordinary.
That is the underlying premise for your challenge this week.
You're being whisked away to the fantastic and whimsical world Of Tim Burton.
Are you kidding? Yes.
I'm a huge fan of Tim Burton since I was a kid.
Edward Scissorhands, Beetlejuice, The Penguin That Childlike, sweet center, wrapped in a twisted barbwire concoction of black and white.
It's a crazy juxtaposition that just really works.
This challenge is made for me.
Tim has a way of taking people with ordinary lives and professions and turning them into wild and wacky feature characters for his films.
Such as everyone's favorite topiary artist and hairstylist, the misunderstood loner, Edward Scissorhands.
Your spotlight challenge this week is to create a whimsical character inspired by an everyday profession, worthy of being featured in a Tim Burton film.
- Oh, my God.
- So How awesome.
These are your choices Plumber Ice cream man, chef, baker, toymaker, mailman, cellist, farmer and bellhop.
So let's see who's gonna go first.
Sue.
The first one on the list that I really want is toymaker.
Toymaker.
Sue grabbed toymaker.
Then I'm thinking, I gotta get baker.
Baker.
But then Beki grabs bake - cellist.
- Ice cream man.
- Lo and behold, one-by-one, they all start to disappear.
Plumber.
Yep.
RJ.
Bellhop.
Okay, that's cool.
Now before you head back to the lab, why don't you just take a minute to sketch and let this beautiful place inspire designs.
Tomorrow, I'm gonna be doing a walkthrough with ve, who's actually worked on five Tim Burton films.
So make sure to bring your "A" game, guys.
Cool, cool.
I'll see you all tomorrow.
I'm totally hyped about this challenge.
I can't wait to get my hands into this.
Sitting in front of the Watts Towers, the shape of the tower speaks to me, and so I just start drawing this huge pointed cone on top of my character's head.
He's an ice cream inventor.
His lab exploded, fusing his anatomy and DNA with his own creations, so now he's this chocolaty, ice-cream-sprinkled, waffle-cone-headed clown.
If you think about Burton characters, they're not heavily makeup oriented.
That's what we were just talking about.
Think about how subtle all those makeups were in Alice In Wonderland.
I already see this character.
She lives in the realm of Alice In Wonderland.
She's in love with the hatter, who works next door.
Becomes toxified by chemicals that he uses.
I'm gonna make a big cupcake and a cherry.
I already know what I wanna do when I get back to the lab.
All right, guys, let's head out.
I feel like mine's just gonna be sweet and simple.
No pun intended.
We get back to the lab and, because I was the last one to choose the profession, I got the first draw for the head cast.
And I picked Landon, because I had worked with Landon before.
Landon really sells anything you put on him.
He's also really tall and lanky.
Just like 90% of Tim Burton's characters.
I'm very nervous about this challenge because I'm going very subtle on appliances and more fabrication-heavy.
Tim Burton does a lot of gear work, uh, steampunk kind of feelings.
And I'm thinking plumber would be very mechanically inclined.
So I'm building a hydraulic plunger backpack.
I'm only doing two appliances that are on the face.
With this eyepiece, I figure he was working on a radiator and steam blasted him in the face and burnt his eye.
I go over and horde all of the really dense foam.
I'm thinking the bellhop has become part of the luggage.
So he has drawers in his chest like a trunk would have, and he can open his drawers and pull out clothing.
Immediately, I start sculpting my original design, which was almost like she's becoming a cello herself.
And then I came up with this design, which is a little more sleek, and it uses more the model's face.
I wanted to see if I could bring in another character, and so what I decided to do was actually take the cello and put a face up here in the corner, almost like the cello was morphed into a human and it's her love.
For my toymaker, my concept is, in this remote village where no one can have kids, and this toymaker decides to start making toy children.
So this entire town is carrying around these creepy-looking marionettes.
I'm really worried, only because I've never made a puppet before.
Whoa.
I got my eyepiece sculpted and it's looking really cool.
But then I walk by Sue and I look at her sculpt and I'm, like, "oh, my God.
" We're doing the same thing.
Sue and I are both doing a one eye covered.
Oh, really? I'm freaking out right now.
Sue? Are you kidding me? I hate this.
I don't think I can use this appliance.
This could kill me.
Coming up Sue is doing another old-age makeup.
I don't think Beki is gonna use any appliances.
There's that voice in my head that says, "you didn't do enough.
" I don't think he looks like a Tim Burton character.
I love that.
- We're creating a Tim Burton-like character based on very ordinary professions and making them extraordinary and whimsical.
I got my eyepiece sculpted and it's looking really cool.
Then I walk by Sue and I'm like, "oh, my God.
" We're doing the same thing.
I know that Ian has a huge advantage over me by being more experienced at fabricating, and all I have is my originality.
Did you take the eye out, Sue? Yeah, I'm going to have it on the actual mechanism.
- Oh, gotcha.
- So that They can see both of the eyes.
Thank God.
- Mm-hmm.
- Wow.
That's gonna be crazy.
I'm going to make a little headpiece with a magnifying glass that a lot of toymakers have when they're tinkering with stuff.
Day one's winding down and I still don't know what I'm gonna do for the paint scheme.
There's a lot of different possibilities.
That's time, everybody! Hopefully, I'll get some good sleep, think about it, and have an idea tomorrow morning.
Second day in the lab.
We got ten hours today, which is great.
I come in, look at my silicone appliance There's no way I can even use these.
I have to blend the edge of the appliance and the skin and make the edges invisible.
But the edges are just too thick.
It's fucking horrible.
Like, I'm gonna have to redo it.
I feel like I'm doing really well today.
I feel like everything that I'm planning on is on schedule.
Is that big enough or should I make this dome bigger? I have a little bit more time than usual to focus on some smaller details.
I'm looking around and I notice that Beki is still working on her cupcake that's in no-- nothing else.
So I don't know what's really going on with her.
By the end of today, I would like to have the cupcake completed.
I'm gonna add some pigments, and just put that on top so it looks like it actually has real icing on it.
Are you gonna mold that? Yeah, so that it, like, is shiny and hardens.
I don't need to sculpt a crazy face.
I'm just gonna be hiding her eyebrows and doing a dental appliance, which I can do on application day.
Morning everybody.
Morning.
- I am here with Ve.
- Morning.
We're gonna do a little walkthrough and check out your work.
Ve is the perfect person to judge makeups based on Tim Burton's work, because she's brought his creatures to life.
I got the bellhop.
Growing up I remember, in a magazine, you had a A print out of how you applied your penguin on Danny Devito with the pieces and how you based it out with the packs first and then you went in with the colors afterward and all that stuff.
- Right.
- So I think I'm gonna try that.
If you match the prosthetics to their skin tone first, then you have, like, a blank canvas again so when you go to apply the pale makeup, it goes on a lot easier.
Right, I think that's what I'm gonna try and do.
Ooh, this is cool.
Thanks, it's-- it's more of a-- a tragic villain.
How are you gonna color it? I'm going for a white with maybe some purples and reds, and I want some, like, brown chocolate syrup.
You know? For some of the red-- Instead of the reds, you see chocolate syrup.
- Good luck.
- It's going good.
Thank you.
I'm going more fabrication instead of makeup.
I'm only gonna have two appliances going on.
One of them is his eye.
Can I see your appliance? Oh, and you're doing it out of silicone? These edges are kind of thick, aren't they? Yeah, that's what I was looking at too.
I'll fix it.
I might even re-sculpt another one if I can't get it to look good.
I actually went through a few different designs.
It's just a-- a face prosthetic.
Sometimes less is more.
I mean, you know, you don't necessarily have to cover their, you know, face with prosthetics to get a Tim Burton character.
If it's better to use your time more wisely giving your great paintjob and working on your props, then perhaps that one prosthetic could be enough.
The other thing I wanna bring to this is-- it's kind of risky, but I was working on some cello designs with a face in it.
And she has a flowing emotional dance with this cello, so Wow.
This dynamic with her cello is a lot of the stuff I'm feeling inside, being away from my wife, being away from the kids.
This is the stuff I'm going through so that's a release for me.
My concept is that there's a toymaker in a very remote town where somehow everyone in the village has become sterile there's no kids and everyone starts it's very gloomy and there's no and then what ends up happening is that all his friends start dying off so this toymaker starts making these puppets he takes their brains and then sticks them onto the puppets.
They're gonna have brains on top of their heads? Yes.
I'm gonna have the tops of the head just shaved off And then have a brain on top and then cover it.
What's this going on over here? Um, I'm making him a fat suit.
- Wow, that's a lot of work.
- That is a lot.
I know that the judges want to see a full makeup from me, more than just a headpiece.
So I have to step it up.
You see this is kind of an opportunity for us to go sort of minimalistic with our makeups, but maybe bright and vibrant with the makeup job that we actually apply to the face.
So your Tim Burton thing is more about the whole look of it.
The stripes and the colors and the swirls and the-- Yeah.
I really think that I'm creating something that's nice and that I'm not doing anything that's too much.
How do you think they're doing? I like Rayce's character.
I like the way he's making that cello and giving her that swoop on her forehead.
I'm a little concerned about Ian.
Yeah, he seems troubled with his concept.
He seems a little indecisive about where he's going.
Sue is really biting off a lot.
I'm afraid she might not be budgeting her time well.
You know, if she pre-paints it, she'll probably do okay, but, I mean, that's a lot of work for one person to do.
- Beki-- - And the giant cupcake.
And the ginormous cupcake? I think because of the fact that she's not doing prosthetics, she's really gonna have to do, you know, a really fabulous paintjob and really pull off a great Tim Burton character.
All right, guys, it's looking good.
Good luck, we'll see you tomorrow.
- Bye, everybody.
- Bye.
- Bye.
- See you tomorrow.
Sue is doing another old-age makeup, it looks like.
I feel that that's really the wrong way to go with this.
I'm looking around the room.
I see that everyone else is sculpting these crazy faces, and because my makeup is very simplistic, I start getting worried.
I just think that everyone else is going so crazy with the fucking appliances and the facial pieces that mine's gonna be, like I don't know.
Beki I don't think is gonna use any appliances.
She's building a great cupcake, but other than that, I don't think she's doing anything.
I don't have a full facial prosthetic.
Maybe I'm wasting time.
I don't know.
Beki, I don't think is gonna use any appliances.
She's building a great cupcake, but other than that, I don't think she's doing anything.
Maybe I'm wasting my time, I don't know.
But I also feel very strongly about my character and how she will look on application day.
So I'm gonna stay with my original concept.
I'm not going over-the-top crazy this time.
Maybe I don't understand the concept here.
You have Planet Of The Apes, you have Sleepy Hollow, Big Fish, and Willy Wonka And The Chocolate Factory, which are all very different films.
Burton has all these different genres he's worked in, and I don't really know what the judges want.
It's really frustrating, this one.
Today is ice cream day.
So I finish my sculpt and I begin molding a square form of a waffle sheet, and I'm gonna run latex for a skin and polyfoam for the ice cream cones.
So it will be lighter and squishier.
I only have one mold, and I have to make 12 different pieces.
So it's all drying and pouring latex.
And that's what's taking a lot of time.
There's so much to do.
I'm really worried.
This could be the challenge that I go home.
I just have a lot of stuff going on, and I need to edit.
I'm not going to do two puppets at this point.
Are you kidding me? What was I thinking? When I start to paint the backpack and age it up a little bit with some water, it starts to pop.
It's really starting to come together and look metallic.
It's looking pretty good, I'm kind of excited now.
That's time, guys.
When we get to the house, I'm really worried at this point, but at the same time, it seems like Beki's really worried too.
God, it is really daunting though, how everyone else-- Yeah, oh, yeah.
Is bringing out the big guns on this one.
Yeah, I mean, I-- I started getting really nervous when everyone was sculpting a face, and I was like, "I'm just gonna bring out a cupcake.
" Well, it seems like everyone else is very well-rounded, and I need to prove myself from, you know, last challenge.
Sue's feeling a little apprehensive.
I do believe that she is skating on very thin ice.
And if she can't pull all those pieces together, she will have a problem.
I'm definitely not gonna go without a fight.
It's day three, application day.
We have four hours to work on our models and apply the prosthetics and the makeup.
That's good.
It's the final six people, so all stakes are high for everybody.
And it gets pretty intense on application day.
When you have that four hours and it's ticking by so fast, you start really understanding your time.
Even rolling out paper towels takes about a minute.
I could have spent a minute doing something else.
Nice to meet you.
- I missed you so much.
- Aw.
- Nice to meet you finally.
- Nice to meet you.
Tommy.
I start painting the prosthetic.
Before I apply it, I'll put at least a good hour in there of painting it.
That way, I know for sure that my paintjob's gonna be spot on.
See if this'll be uncomfortable for you.
All right, close your eye.
I apply the eye prosthetic and I start to paint him.
He looks exactly like a Tim Burton character.
It's weird how much you look like Johnny Depp.
I'm gonna go with it.
You're the bellhop.
You're gonna pull pantyhose and scarves and then a big girdle out of this little tiny drawer.
And then you can-- - Ring your bell, okay? - That's funny.
I'm feeling really good.
See if you can get that on.
Everything is on schedule.
Perfect.
Thank God, because having a butt-pile of work to get done on application day will screw you up.
Hang on.
I need some kind of help to pull this through.
I'm really behind, but if you can help me if you don't mind And I'm thinking if models can help blow-dry themselves, why not help cutting some things up? You're gonna cut all these up as little stickers and stick 'em on the back of these.
- And then-- - Yeah, of course.
Oh, my God.
Yeah.
Thank you so much.
Sue has lost her damn mind.
I have another project for you.
- Okay.
- See how this hair's kinky? - Yeah.
- Just straighten it our for me.
I feel like a crazy toymaker right now.
Go like this for me.
I'm looking around, and Sue's running a sweatshop in the other corner of the room.
What the hell is she doing? Maybe it's the calm before the storm, but I'm feeling good.
This is the only time where I might actually have time to spare.
But then there's always that little voice in my head that says, "well, maybe that's because you didn't do enough.
" That's time, everybody.
I only have one hour backstage to finish.
I don't even have his makeup on.
What the hell am I going to do? Coming up Oh, my goodness.
I'm out of time.
I'm seriously impressed.
Wow.
I love the costume, I love the makeup.
All I can see is this ballet of idiocy.
We only have one hour left, and I need to paint, I need to do an actual character makeup on him, and on top of that, I still need to finish the puppet.
Last looks, it's ridiculous.
There's never enough time within that hour.
It actually feels like it's 15 minutes.
Like, it just flies by so quick.
Yeah.
Do you know how to hold this? Oh, my goodness.
I'm running out of time.
I don't know how I'm gonna pull this out.
All right, guys, time's up.
Put 'em down.
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.
Hi, everybody.
Creature designer and director, Patrick Tatopoulos.
Hello.
And joining our panel this week, she is one of Tim Burton's go-to actresses for films like Beetlejuice, The Nightmare Before Christmas, and the upcoming film, Frankenweenie.
Please welcome Catherine O'Hara.
Hi.
This woman is a comedic icon.
So it's exciting for everybody, really.
This is kind of a reunion for you and Ve.
It is.
We did Beetlejuice together.
She did some wonderful special effects makeup and made me look frighteningly gorgeous.
I did.
Catherine, thank you so much for being here.
Thank you.
So this week, your spotlight challenge was to take an ordinary profession and create a character worthy of being featured in a Tim Burton film.
Let's see what you've come up with.
First up is Ian.
I think he looks damn cool onstage.
He looks like a, afterlife plumber.
I really like it.
I love the character.
It's colorful and striking, and it's exactly what I wanted it to look like.
I love the ice cream man.
He's so colorful, so delicious-looking, and he's just a-- a feast for the eyes.
I'm just so proud of myself.
I can't believe I pulled that off.
I think I can see my character in a Tim Burton movie.
But then I also put my twist on it because I'm tired of being a runner-up.
I didn't come here to just be almost good enough.
I'm just loving it.
I'm starting to grin from ear-to-ear.
And I really think I did a good job, myself.
All right, judges, why don't you take a closer look? They make all the props too? - Yeah.
- Wow.
The back prop is cardboard and hot glue.
So I'm sitting there as Glenn's pulling on it.
It's gonna fall apart.
Open your mouth All the way so I can the bottoms too.
Before it was painted and everything, it was six hours on the cupcake.
I don't know about the cherry.
Yeah, no, this is one big piece, yeah.
Oh, no thanks, I ate.
It looks good.
Is that silicone? Mine's the only one that looks super realistic, but it may not be the most Burtonesque.
So, I'm starting to get really worried.
I don't wanna go home for this.
Mine may not be the most Burtonesque, so I'm really worried.
That's cool.
Wow, yeah, nice movement.
It's anybody's game, and I could easily see myself being a bottom look, just 'cause they're all so close and they all depict different areas of Tim Burton.
Can you spin this around so we can take a look at the back? This is really cool.
Yes.
Thank you.
I'm laughing and having a heart attack at the same time.
So, Catherine, you know what it takes to make a great Tim Burton character.
How do you think they did? I'm seriously impressed.
Wow.
When I think of Tim Burton, I think of beautiful balance between dark and light and creepy and funny, and it's all there.
Great characters.
Congratulations.
- Thank you.
- Thanks.
All right, well, the judges would like to speak with each of you to learn more about your work.
Matt, you're up first.
All right.
Tell me more about the makeup.
I sculpted the waffle sheet, wrapped a sheet of foam around for the cone, I used polyfoam for the ice cream itself, and some 3rd degree for this chocolate.
This is more of what I've been looking for out of you.
The balance of what you did, integrating the actual cones into the makeup was very wise.
I love the costume, I love the makeup.
If Tim Burton was gonna make a horror movie, this guy would be in it.
I did not think he was too scary at all.
I think he's really funny, and I see that he thinks he can get out of the truck and meet the kids.
It looks like he doesn't have any idea how scary he looks.
Very Beetlejuice to me.
All right, Matt, you can step back.
Thank you very much.
Beki, you're next.
Okay, Beki, I would like to know what the hell were you thinking? No, what's your story? Oh I'm like, "um" I'm sorry.
She is a baker.
She falls in love with this hatter.
He ends up leaving, and it makes her completely crazy.
You've got the stripes down.
You've got the Tim Burton stripes.
Unfortunately, this just echoes something that already exists.
I'm not sure what is it you did with all of your time.
Can you tell me? I basically got the concept together, I made the teeth, um, made the big gigantic cupcake and the cherry.
I gotta tell you, I'm really disappointed in how this came out.
You spent so much time making that cupcake, and I was hoping it was gonna be some fantastic paintjob.
It's just kind of sloppy.
A lot of other people made a lot of props and did prosthetics, and this is just kind of a letdown as far as I'm concerned.
I think you have a great sense of shapes and proportion.
You have that, I wanna give that to you.
Where you--I think you made a mistake is, I feel like those teeth don't belong to her.
Like, you put the mouth as an add-on.
Beki, thank you very much.
You can step back.
And, Rayce, please step forward.
Tell us a bit about the story of your character.
This is actually someone she deeply cares about that she has transformed, and she actually keeps it alive by playing the cello.
It's like a heartbeat.
Just very, very impressive.
I like that you're playing with the shape of the cello.
To curve it and having her starting to move in that same language, it's, to me, very elegant and poetic, and I like to see something like that for a change.
Thank you so much.
It's so soulful and-- and, uh, romantic, and I imagine Danny Elfman music along with this would be so beautiful.
Rayce, I really have to applaud you this week.
You did something completely different.
It doesn't look like your signature work.
That cello, to me, is exactly what this challenge is all about.
And the fact that you've pulled pieces of the instrument into her face.
Really, excellent job.
And your airbrush work is really great.
You had airbrushed her clothing as well, which was a good idea, because it homogenized the whole look.
It's just beautiful.
Thank you so much.
Rayce, you can step back.
Sue, you're up.
Do you feel that you accomplished everything that you set out to do? I knew that I had a lot on my plate, but I think I accomplished the things I wanted to do.
I don't really think he looks like a Tim Burton character at all.
I-- I was wondering if you even knew who Tim Burton was when I saw this guy come out here today.
Right now, he's just kind of, like, a creepy old dude that's playing with these creepy dolls.
I think the most Tim Burton part of your thing is your little puppet.
All I can see is this hodgepodge of ideas that are sort of jammed together.
The build turned into this ballet of idiocy, where nothing went together at all.
I think that you were successful in creating the silicone appliance, but it looks very, very reminiscent of the old-age that you did.
Sue, you can step back.
Ian? All right, Ian, tell us your story.
He's supposed to be a plumber in the afterlife.
What about prosthetics? He has a foam latex chin, and a foam latex eyepiece.
It's very Burtonesque, to the point where I don't see your work in it.
You did all of this work on your props, but--and you put them all on the back.
I wish you would have done so much more to the front.
I--I do not think it's a total flunk.
You definitely got the part about it being a Tim Burton character.
Your scenic work on every one of your props is absolutely stunning.
You think and you work differently on the props than you work on the makeup.
That said, probably, you played it a little safer than everybody else.
Ian, thank you very much.
You can step back.
RJ.
So, RJ, give us your backstory on this bellhop.
I don't know if he's somewhere between living and dead, but he's kind of stuck in this hotel.
As you can tell, he steals the ladies' undergarments from their luggage.
You did a great job.
Thanks.
This whole chest piece with the curlicues and the hat are all fantastic.
I can definitely see him in a Tim Burton movie.
RJ, this character is you.
I am not kidding.
I'm completely impressed with this.
The quality of the detail, the attention to the detail, everything is so tight.
It's very, uh, organic, and very architectural at the same time.
You created such a strong character, you and your actor, that you could totally put him right in the hotel in the afterlife.
And my grandma called a dresser a chest of drawers.
I love that.
I think that present here, in almost every facet of your character, is Burton's signature style.
And you still managed to make it your own.
- Thank you very much.
- Well done.
RJ, thank you very much.
- Good job, buddy.
- Oh, my God.
All right, the judges have heard what you have to say.
If you'd please head back to the makeup room while they make their decisions.
Why don't we start with the looks that you liked the most.
Matt's ice cream man.
I love it; Thought it was funny.
Funny, good, dark-- I like the fact that he brought the cone up on the head, into the shoulders and everything.
The use of the candy was the most interesting thing to me.
The way he used the candy as, like-- - The candy.
- Thousands of colors.
Why don't we move on to Rayce? I really like this makeup.
It all just kind of blended so beautifully together, and it's very Burtonesque.
You can just see this character coming out of one of Tim's drawings.
The airbrush work was great, I mean, he even took it into her clothes.
Even in bringing the musical instrument up onto her face by using elements of it's design in the prosthetic, I-- I was thrilled with it.
Everything in his story your saw - Mm-hmm.
- In the makeup.
You know, where some of them seemed to tell a story, and it was like, "really?" Okay, let's move on to RJ.
I think that was so cute, that makeup.
I really like that.
- Very high quality build.
- Oh, yeah, amazing.
It was very cleanly built.
Detail were stunning.
Extra credit for being able to succeed having had the last pick.
He could have been in Beetlejuice easily-- - Yep.
- Or a world just like that.
Let's move on to some of the looks you didn't think were so hot.
Let's start with Sue.
It looks like a Halloween costume that was thrown together the night before a party.
It is hard to believe that Sue has seen Tim Burton movie in the past.
She flopped on the paintjob.
It was very flat.
- It was just kind of, like-- It was quite flat, yeah.
- Like beige putty, you know? - Yeah, yeah, yeah.
All right, what are your thoughts on Beki's work? Everybody else did all this stuff, and you made a frickin' cupcake? I think it's lame that she picked one character from a Burton film and then tied this character directly to it.
That's not what we asked for.
All right, let's finish up with Ian.
Boring, safe, and therefore disappointing.
If he would have put the work that he did into the back on the front, it would have been something that was visually exciting when the guy walked out.
You look at all the characters are being-- "Oh, wow, wow.
What?" And this one was just, like, there.
Creatively speaking, it's a little bit lacking.
All right, judges, have you made your decisions? I think so.
Okay.
Let's bring 'em back out.
Glenn, why don't you tell us about the top looks.
The top looks tonight are Matt Your character was very well-balanced, and it really captured the essence of Burton.
Rayce Great work integrating the profession of your character into the makeup.
And RJ Your makeup was a very complete vision, and had some really great stylistic elements.
All right, Glenn, then who is the winner of this challenge? The winner of this challenge is All right, Glenn, then who is the winner of this challenge? The winner of this challenge is Rayce.
Congratulations.
Thank you guys so much.
Pulling pieces of the cello up into her makeup was an excellent, excellent decision.
And overall it was a very complete character.
For the first time in this competition, I actually win.
- Rayce, congratulations.
- Thank you.
You can head back to the makeup room.
This thing that I've been chasing for eight challenges finally happens, and I just wanna scream right now, you know? I feel so good.
RJ, Matt, you are also safe.
Please head back to the makeup room.
Thank you, guys.
Thank you.
Unfortunately, that means you three were the bottom looks of the week.
One of you will be eliminated.
Would you please step forward? All right, Glenn, why don't you tell us about the bottom looks? Sue, your makeup was a misfire this week, and it seems like it would have been better on a different challenge.
Beki, you spent too much time working on the props, and what makeup you did present was poorly executed.
And, Ian, your makeup was anemic and lacking in creativity.
Who is going home tonight? The person leaving tonight is Beki.
Beki, I think you have a lot of potential.
I think you just have to, like, get out there and do more.
Thank you.
Beki, I'm sorry that you've been eliminated.
Would you please head back to the makeup room and pack up your kit? - Thank you.
- Bye.
Good luck, Beki.
I'm gone.
Are you kidding me? The hardest part about leaving right now is that I got so close to the end you could taste it.
And then I get to go home.
It's a once in a lifetime opportunity.
I'm glad I was able to take advantage of it as far as I could.