Face Off (2011) s03e01 Episode Script

Welcome to the search for the next great name in movie magic.
Face Off is back.
will battle it out in our most explosive season yet.
My heart is pounding out of my chest.
- Oh no.
- Don't panic.
Are you kidding me? Along the way, they'll face mind-blowing challenges.
Star Wars.
The imaginative characters of Dr.
Seuss.
So many of the mistakes are completely indefensible.
This week, we are switching things up.
That's just too nasty.
You'll be incorporating items from this junkyard into a cyborg character.
The finish is stunning.
The design's very exquisite.
There will be heart-stopping surprises.
Today's challenge could change someone's life.
This is it.
And some of the biggest names in the industry.
This is phenomenal.
You've done a truly remarkable job.
He's a wonderful creation.
But to come out on top, they'll have to impress our award-winning panel of judges.
Ve Neill, three-time Oscar-winning makeup artist whose work includes The Pirates of the Caribbean films, The Hunger Games and The Amazing Spiderman.
I'm mesmerized by the look of this makeup.
Glenn Hetrick, cutting-edge makeup artist on CSI New York, The Hunger Games, and critically acclaimed Mad Men.
It's so well done it blows my mind.
Patrick Tatopoulos, visionary designer for Stargate, Total Recall, and director of Underworld Rise of the Lycans.
It's absolutely gorgeous, beautiful makeup.
And joining our panel this season is Neville Page, renowned creature and concept designer for Star Trek, In the end, only one will win the opportunity to be a guest lecturer at Makeup For Ever's academies in New York and Paris I want this so bad.
A new 2012 Toyota Prius V I came here to fight and compete.
Damn it, I'm gonna compete.
And $100,000.
I'm gonna be the next Face Off champion.
And for the first time ever, America, your voice will be heard in selecting the winner.
Only one will win Face Off.
My name is Tommy, and I just quit my full-time chef job back in Columbus, Ohio to become a full-time special effects artist.
I just got off the plane, I'm in L.
A.
I know that I'm invited to this exclusive party where I'm supposed to meet the rest of the contestants.
And there are some mystery celebrity party hosts.
I just can't wait to see who it is.
My name is Alana, and I graduated from the Tom Savini makeup effects program.
I recently moved from New York to L.
A.
With my boyfriend, Ian who was a finalist on season 2.
I finally get to where this VIP party's supposed to be.
I walk out onto the roof and there's this beautiful party overlooking Los Angeles.
There's pool, there's a hot tub, there's gorgeous women everywhere.
There's a full bar and then all of a sudden Awesome! Hi! It's Sean Astin.
Oh, my God, I was just watching you like not two days ago.
- Really? - Yeah! He's the party host.
He was Samwise in Lord Of The Rings, he was Rudy, and he was in The Goonies.
I don't think I could have asked for a better celebrity to greet me.
Fired up? Yeah, dude, I'm ready to go, this is awesome.
I'm Rod, I'm a digital effects artist.
I've loved special effects ever since I was a kid.
My passion is creating characters.
I wrote a film where I play - There's Rod.
- Yes.
- Sean Astin.
- Oh, hey.
- How are you? - Nice to meet you.
- I'm your host for the day.
- That's great.
So get a drink, make yourself comfortable.
- Alana.
- Hey, how are you? Oh, my gosh, it's Sean Astin.
I had the biggest crush on him when I was a little girl.
I'm totally overwhelmed by all of this.
I am surrounded by only beautiful people.
And the view is unbelievable.
- Eric, Derek.
- What's going on? How are you? Sean Astin.
- Wow.
How you doing? - It's nice to see you, welcome.
- I'm Derek.
- I'm Eric.
And we are fraternal twins.
I'm more of a sci-fi effects artist.
I like to do creatures and design aliens.
I just wanna make that next big creature that you see in an alien film.
- Eric? - Yes.
And Derek.
I'm Derek, I'm a tattoo artist.
But my passion is makeup.
I'm into creepy horror-type characters.
- Hey.
- Hey, there.
I'm Sean.
Pleasure to see you, how are you? You know, I'm about ready to cry.
- This is so cool.
- Uh, don't cry.
No crying, it's all right.
It's all right.
My name is Joe and I am a writer, producer, director, and a special effects artist.
I've produced and directed and created special effects for 16 micro budget motion pictures.
I'm CC.
I love to do beauty makeup, weddings, but I can also do gore and monsters.
My second year in college, I wanted to do makeup.
It just was in my heart, but my dad didn't understand.
Being on the show is a dream come true.
I feel like I'm gonna be able to prove something to him.
- My name is CC.
- CC? Eric.
- Nicole.
- Oh, my God.
- Hello.
- How's it going? My name is Nicole and my love for special effects started with my love of Halloween.
I have fibromyalgia.
It's a disease that attacks all your nerve endings, and it makes your body hurt all the time.
The only time I don't feel it is when I'm doing makeup.
Hi, nice to meet you.
Hi, there.
Sean Astin.
- Hi.
- How you doin'? Contestants came filtering in from all over the country.
I'm excited.
Hey! How are you? We're sipping champagne and everything is fantastic.
Then out of nowhere-- Hey, everybody.
- Oh, God.
- Oh.
The stunning, star-quality McKenzie arrives.
Come on and gather around.
I am absolutely blown away.
McKenzie is so gorgeous.
And she just lights up the whole rooftop.
Welcome to Face Off.
We are in the heart of Los Angeles overlooking Hollywood.
You are one huge step closer to achieving your dream of becoming the next big name in movie magic.
Now, Sean here is not just your party host, he also happens to be the judge of your first foundation challenge Which starts right now.
Oh, my God.
I can't even stop my heart from pounding out of my chest 'cause now I know I shouldn't have had those two glasses of champagne, something's gonna go down.
Now, those are your makeup stations and kits, and you've actually already met your models.
Models, take your places.
Your foundation challenge is to create an original face makeup that shows us your artistic sensibility.
Your makeup must incorporate at least one item from this party.
Everything is in play.
The winner will receive immunity and cannot be eliminated from this week's spotlight challenge.
I want that immunity because I would love to just have the freedom in the shop to experiment without the consequences.
Now, Sean, you have spent a great deal in and around the world of special effects makeup.
What advice do you have for these guys? Be yourselves, relax, don't be nervous, and let your passion come out.
It's my big-- big advice.
Nicely put.
All right, you've got two hours to complete your makeups.
Your models and your stations have been assigned randomly.
Good luck because your time starts now.
Have all these plants and I have no idea what I wanna do.
So I just start going through the kit and I see a witch nose.
So I'm just gonna try to maybe do some kind of primitive witch doctor-type of thing.
I've never done it before.
But I'm doing this kind of goofy really neat-looking treebeard lord tropicanas-- this God of the tropical land.
I'm Sarah and I am currently working in an office for my day job but I wanna do makeup full-time.
In my kit, I found this mask.
So for my concept, I decided to go with a superhero look.
I'm Jason and I got into special effects when I was 12.
I always had of passion for haunted houses and Halloween and that's really what got me going.
I found an evil brow looking piece, and then, I'm gonna try to fit plant life into it.
My concept is a character in a slasher film.
She is a cheerleader who is burned in a hazing incident.
I'm using paper napkins to create this burnt-fresh look and pretzels from the hors d'oeuvres bowl to make a full set of teeth.
My name is Roy and I have been doing special effects makeup for almost 30 years.
I've been fortunate enough in the last two years to get to where this is all I'm doing all the time.
For this challenge, I wanna do something different, so I decided to make a human bird.
I'm thinkin' I can take a soda bottle and twist it and make a beak out of it.
Part of this challenge is to put a piece of myself into this makeup.
So what better than something scary? So I'm making this warrior, and he's in a battle, and he just rips a dude's heart out.
You have one hour left.
I'm creating a reptilian-type character.
I'm using lentils to give it a little bit of texture.
My name is Laura and I'm a self-taught special effects makeup artist.
I would love to be the first woman to win this.
I would also like to give some of the prize money to my mother so she can be as happy as she's made me.
For this challenge, I'm going to make a jungle cat with a flower as an accent.
When I saw the bird of paradise flower, I thought I could make something with this.
I'm thinkin' some kind of forest princess creature.
She needs camouflage 'cause it's a colorful forest.
Even though I'm so focused in what I'm doing, I look over to my brother Derek's makeup and I'm like, damn, I'm blown away by how awesome it looks.
Fantasy with plants is not in my comfort zone at all, so I'm taking huge chances.
Going through my kit, I pull out eye bags.
I flip them upside down and make them into eyebrows.
I'm taking napkins and creating texture to his face.
I think my makeup's starting to come together.
I'm looking at the leaves I put on her and I go with the color scheme of the reds, and then I start highlighting some yellows to give her a flowery-look.
I wanna make my model into a voodoo-esque twisted man.
Knowing the time limit that I have, I'm sticking with materials that I'm used to so I go for the third-degree for the scarification detail.
I'm also using leaves to make a neckpiece.
I am not thinking at all about the competition.
I'm having a blast doing this because this is right up my alley, it's my forte.
Close your eyes.
I really know how to gross people out and this is coming along smoothly.
Hold your breath.
All right, everybody, that is five minutes.
It's panic time.
That's it, time's up.
Brushes down.
I am so excited to have Sean look at my work.
I definitely want to impress him.
He's been around makeup and he knows what he's talking about.
I was thinking something like a-- like a tribal warrior.
He rips hearts out of other villagers.
I like the way you synthesized the character.
This thing-- all of a sudden informs everything.
Yeah.
I just gathered cool-looking, bright-colored leaves and stuff.
And I thought, "okay, maybe I can do some kind of witch.
" I think it looks like an exotic bird and sabretooth or something.
Yeah.
- You did a really good job.
- It's really good work.
- Joe! - Sean, how are you? I'm scared, man.
I'm not gonna lie.
Hi, Joe.
She is a senior cheerleader.
She was burnt.
She returns to seek revenge on the cheerleaders that did this to her.
It definitely has an emotional and evocative feeling.
It is creepy and scary.
But there's something erratic about it.
Don't love it.
I'm not surprised.
This comes with creating something truly original.
I have encountered this kind of criticism my entire career.
I just went off from the colors of the bird of paradise for the makeup.
Most of it's airbrush.
The coloring and shading is pretty amazing.
- Thank you.
- I created a voodoo man.
I wanted to incorporate the pattern from the plant onto his face.
I mean, it's interesting you chose not to do any prosthetics, so it looks not finished and the painting, there's something unnatural about it.
I am disappointed with myself.
I've done much better work than this.
When I see everyone's makeup, it's anybody's game.
I see that I'm surrounded by crazy talent and I'm getting very intimidated.
All right, Sean.
So how did they do overall? They did great.
They did great.
They're all incredibly talented and the work was beautiful to look at.
All right.
Who were your favorites of the day? It wasn't easy.
One of the top two picks is Derek.
The painting work, the lines, the shading-- It just really felt like a character, so congratulations on that.
My other top one is Eric.
The craftsmanship and the way that you did the shading and getting the lines so organic and natural and yet be really precise at the same time.
I'm surprised that out of 12 people, both of us would be the-- the top two.
But whoever wins it, we're gonna be proud of each other, no matter what.
All right, Sean.
Who is the winner of today's challenge? The winner of today's challenge is Coming up Your challenge is based on the most influential film franchise in the history.
Oh, my God.
- No, no, no.
- Fuck.
It's singularly unexceptional.
All right, Sean.
Who is the winner of our first foundation challenge? The winner of today's challenge is - Eric.
- Yes.
Wow, that's cool.
Thanks, man.
The silhouette of that character just kept grabbing me, so that's why I picked you.
Good job.
Having that first win is gonna give me more confidence to go on to the next challenge where I can do even more cool work.
Eric, congratulations.
You have earned immunity in the first spotlight challenge and cannot be eliminated.
All right, guys, with that I will let you go to check out your new house, and I'll see you tomorrow for your first spotlight challenge.
Bye, thank you.
Oh, my God.
So we pull up to the house and we all bolt inside.
Running around checking out all the work from last year.
We really couldn't have expected more.
- Claiming, claiming! - This is it, this is it.
I'm jumping up and down and I look on the wall and there is Rayce's Tim Burtonesque cello player.
I'm like, "ah! Burtonesque room, Burtonesque room.
" I'm so excited.
We gotta see the outside.
We're on the top of a mountain and there's a gorgeous view.
This house, it's something that a celebrity would stay in.
Today's the first spotlight challenge, and we're walking around the FOX studio lot.
This is where we all wanna be, we wanna work in films.
Everyone's excited.
And then, we turned the corner.
No no way.
There's McKenzie and there's this giant Star Wars mural.
Welcome to the 20th Century FOX back lot.
Your first spotlight challenge is based on the most influential film franchise in history Star Wars.
Oh, my God.
I'm old enough that I actually saw Star Wars in-- in it's original theatrical run.
Since 1977, Star Wars has expanded to everything from action figures to video games.
There's even an animated series, The Clone Wars.
And that brings us to today's special guest.
He is a longtime Lucas Film collaborator, and he also happens to be the voice of General Grievous in Star Wars, The Clone Wars.
Please say hello to Matthew Wood.
What's up, bro? As a long-time Lucas Film collaborator, there are many classic Star Wars scenes.
What's one of your favorites? First scene I remember as a kid when I was five years old was the cantina.
Every little corner is filled with a different race of alien, so that was my favorite.
And that, my friends, is the focus of our first spotlight challenge.
You're going to need to create an alien that would fit in a modern version of that classic cantina scene.
Oh.
I'm geeking out.
I know that cantina scene inside and out, so this is a dream come true.
Now, you'll be working in randomly selected teams of two.
Team one is Alana and Nicole.
Yeah, girl.
- Yeah! - Get it.
Team two is CC and Derek.
Cool.
Team three-- Joe and Tommy.
Joe's foundation challenge had to be nerves and I'm like, "okay, benefit of the doubt, we can make this a great team.
" Team four-- Roy and Rod.
Oh, cool.
Team five is Laura and Sarah.
Team six is Eric and Jason.
Awesome.
Eric has immunity, and if something goes wrong, I'm the one that's gonna go.
All right guys, we have a surprise for you.
Matthew? We're gonna feature the winning character in this challenge on the official starwars.
com website.
Both in its original form that you've created and in the style of The Clone Wars.
Wow.
Being on the actual Star Wars web site-- how many people get that chance? It just makes me wanna win this even more.
Good luck, and may the force be with you.
- Thank you.
- Bye.
Oh.
Oh, my God! Yes! Walking into the lab is literally a dream come true.
Oh, these are the models.
So, it's time to pick our lifecasts.
When you pick a lifecast, you're picking a stone copy of what your model's face looks like so you can sculpt on top of it.
I'll get my sketchbook.
Okay, so we're gonna draw out your ideas.
I'll draw mine and we'll compare them.
We need to get our concept and our design down before we start sculpting.
As we're talking, we realize that we have basically the same idea.
Roy's describing his exoskeleton, I'm describing my little guy.
And they fit perfectly together.
I can't believe we got Star Wars.
We find out we're both Star Wars fans.
It is exciting to work with someone who is a geek too.
I want something to read female too.
- Yeah.
- You know? We decide to make her this bad-ass femme fatale bounty hunter.
- I like this idea.
- Perfect, let's do it.
I really wanted to do a woman.
I start to bounce my ideas off Joe.
Two nostrils and just simple teeth.
She's a-- she's a tough girl.
If a turtle's shell was actually made of flesh.
But it's was really hard to get my thoughts across.
I was thinking of this.
It's important to do something that's truly original.
He wants to put the eyes up here and make the nostrils where she can see out of So our character ends up being a female bodyguard.
Our character, we're gonna do actually like a jazzy-type alien so I felt like this character's gonna be how jazz is, just very laid back.
Our design is a bounty hunter.
So Jason and I want him to look like a mercenary martial arts assassin-type of character.
The next step in making a prosthetic is sculpting clay on the cast of a model's face which will be used to make the prosthetic.
- You want me to try it out? - Yeah, man.
Do what you do.
Nicole and I, we're totally vibing off one another.
We're thinking super pointy shoulders, super high cheek bones.
She is going to be the party girl of the cantina scene.
She's gonna be a waitress to collect those tips so she can get on to the next party.
I start right in on sculpting the face and the little fat body that's gonna be in the exoskeleton.
And Roy, the master of fabrication, starts building the entire exoskeleton.
I think, it should be, you know, dark to light in the middle, you know, where the pupil's gonna be.
I think our character is actually gonna pop out of the scene a little bit more just because of the color choices that we wanna go with.
I don't want the character to get lost in the background.
I start sculpting out the face.
I'm in the zone and I have a constant distraction.
I told you that this was not supposed to be a nose.
It's supposed to be cut off altogether.
I'm being treated like I've never done this before.
I am miserable.
I can't create.
I feel blocked.
No, no, no.
Dude, separate the teardrops.
It's very hard for me to focus and this is the first challenge and I don't want to screw it up.
Fuck it.
It's phenomenal to do this Star Wars challenge.
Star Wars is such a classic movie.
It's hard to believe that anyone has not seen it.
I personally um embarrassingly enough, I've never watched the Star Wars movie.
I should know these characters.
I should know it's in this movie.
I'm not a big Star Wars fan.
I've seen parts of the movie, I just haven't watched it.
I don't know how it's gonna work for those folks that haven't ever seen Sta-- - So push it down and bring it in.
I am miserable working with Joe.
I can't create.
I feel blocked.
I told you that this was not supposed to be a nose.
So cut it off altogether.
Fuck it.
Look at that! It's cool.
I just feel like we should do something else.
After looking around the room, I think Alana and I need to add something to our design to just really kick it up a notch.
So I'm making a cowl, which is a prosthetic for the back of the head.
Neither one of you have done a cowl, but we're like, you know what? We're gonna do it, yeah.
So it's the end of the first day, the hands are pretty much done.
So for tomorrow, Eric and I were hoping to get all our pieces molded and ready to run the foam.
That flair needs to come out further than this one.
Neither one of us have done anything this difficult before.
We have the least experience out of anyone who's around us, and that makes me nervous.
All right, guys, time's up.
Wrap it up, we gotta go.
So it's day two in the lab and we have ten hours today and there is a lot to get done.
I like that.
The face is sculpted, it's ready for molding.
This is the process where you make an outside shell of the sculpture.
You open it up, you put the foam latex, bake it, and when you're done, you have a foam latex appliance that fits perfectly on the actor in the shape of the new face.
I finished the face piece pretty quickly but CC's taking a little longer than I thought.
I'll help you with this so it goes a lot faster.
Hey, everybody.
I'm here with your series judge Patrick Tatopoulos.
Hi.
Ah! Okay.
Oh, my God.
Patrick's here.
Oh, my God.
Okay, so tell us about your concept.
I wanted to work with the alien's body, making it smaller.
But in something big just to change the shape of the human.
- You have any designs? - Yeah.
Whoa! Yup.
That's pretty ambitious, that's fantastic.
Sleazy, dirty person, just nasty looking.
It's really a very interesting design.
In the scene, we wanted to go more of the music aspect, so he's actually gonna be like a jazz player.
Any kind of craziness on the coloring? Normally, when you think of jazz, it's very sensual.
So we wanna actually bring that through with the color.
Great stuff, I love the design.
I look at some of the shapes you have.
They are very kind of wobbly which is cool, I love that.
Yeah, I'm just worried about this head like being able to dig out the mold in here.
Our sculpture has a lot of undercuts and the casting material getting stuck and locking into the mold is very high-risk with our design.
Good luck, it's gonna be an interesting one.
Yeah.
We want to do a bounty hunter or assassin-- kind of more martial arts.
What's the texture of it? Some metallics and iridescence.
Great.
It's very interesting, this is this like a reptilian, hard shell kind of thing? She is almost amphibian and that's why we we're gonna put a mask on her and maybe have her reveal it later.
This is a very nice design.
Thank you.
Oh, my gosh.
Color-wise, you already have some sort of an idea where you wanna go? I would like to go very sun-dried and dark like the planet that she's on.
Joe's painting it, and I'm not fighting him.
It's either his way or the highway, so let's try to get through this.
How are you guys working together? We wouldn't fight if we weren't passionate about it so.
- I can see that.
- Thank you.
Good luck, thank you.
Okay, so let's start with Roy and Rod.
What do you think about their concept? - I'm very impressed with them.
- Mm-hmm.
It's super ambitious.
If they pull it off, I think it's amazing.
Let's move on to CC and Derek.
They have the jazz player, the saxophonist.
I think the sculpting is amazing.
The concept is, again, very good.
Mm-hmm.
It's very, very tight sculpting-wise.
Okay, Alana and Nicole.
You seemed to be a little worried.
Oh, yeah, for the approach on the back of the head Right.
And trying to create an incredibly complex mold when there was options for them to go via fabrication.
Okay, and then we have Joe and Tommy.
Some of the conceptual ideas are very strong.
It's very important that people come up with ideas we haven't seen before-- very, very important.
- We'll see tomorrow.
- Sounds good.
- Thank you.
- All right.
All right, everybody.
Thank you very much and good luck.
We gotta mold.
It's-- it's not-- We don't have any time to play around with it.
Molding a cowl, a face, two hands, two arms-- That's a pretty daunting task in the time allotted.
Yes.
Perfect.
About halfway through the day, Roy finished the head mold.
And I'm having to work on this mechanical suit.
- You had it on? - Yeah, yeah.
Show it to me real quick.
I see Roy doing an excellent job building this piece of art.
To me, it's so unbelievable that he can build that in such a short amount of time.
I seem to work better under pressure than I do whenever I have a lot of time, 'cause then I tend to waste it.
Excellent.
On the armor, I'm thinkin' instead of doing like two like mechanical arms, I wanna do one for like a weapon so it has-- actually has a little bit of motion.
This is either gonna be-- just blow people's minds or it's gonna really suck.
It's getting down to the deadline where we need to get our molds done and cleaned.
Joe was working on the cowl.
And I have to mold my hands.
We got to get them out, we gotta get them cleaned, we gotta go.
Unfortunately for me, Joe is constantly needing help.
Will you do me a favor and stop and clean this one out? So I have to keep stopping and going over to help him finish his work.
- Tommy? - Yup, coming.
You wanna grab that side right here? It's out, it's out.
If I have this mold cleaned out by the time you're done there, I'm gonna be pissed as hell.
I'm gonna be so pissed at you.
I don't see this make up coming out as we envisioned it.
I had to stop, dude.
I didn't get a chance to start cleaning these.
Don't blame me for those hands is all I'm saying.
It sounds like you're getting ready to.
- I'm not blaming anybody, Joe.
- Yeah, you are.
Tommy doesn't appreciate the amount of work that is involved in creating a complete character and this is a big struggle for me.
You're saying that you had to stop and help me.
That's why your hands aren't done, right? Multiple times.
I'm trying my best to just hold it together and get this project done, but I'm just beat.
Now, if you'd just stop running your fucking mouth and help me half the time, we'd be all right.
Instead, you just got to make little smart-ass comments on how you've been doing it for 20 years.
- What, what, what, what? - Life's too short, guys.
It is impossible to save this team.
Bye.
Now, if you just stop running your fucking mouth and help me half the time, we'd be all right.
Instead you just got to make little smart-ass comments on how you've been doing it for 20 years.
It's our second day in the studio, and I'm already dealing with this level of drama, and I snap at him.
Get the fuck out of my face.
- No, I'm not going to.
- Life's too short, guys.
Bye.
I'm very upset at this point.
I think that the only way for us to accomplish anything is just to work separately.
Watch your back.
We have a lot of work and it's gonna be a really big time crunch.
I have never ever done anything close to this.
I'm trying to mold this cowl as fast as I can, and it's gigantic.
There's tons of clay on this thing.
I'm worried about it locking.
Oh, my God, it hope it works.
So is there anything else I can help you? I need help getting these slips casts on.
At this point, I feel sorry for Tommy a little bit because I know he's trying and he wants to get out a good piece, but Joe keeps going off on him.
No, seriously, are you gonna feather these edges? You're like completely-- completely acting irrational right now.
If you're not feathering these edges, this is not gonna work.
Oh, my God.
Together, Tommy and Joe are a train wreck waiting to hit a car.
This is really thick, I probably wouldn't have gone this thick but okay.
I would have done just like one layer thick and then the other-- okay.
I hope it's not too Jedi.
We're doing a Star Wars challenge, and we are making a character for the iconic cantina scene.
The pressure is incredibly on.
Just thinking about fabricating this backpack respirator.
Yeah, go for it.
Our alien is from the Dagobah System like Yoda.
Which we thought would be a nice contrast, because if she's from a moist, wet planet and she has to change to a desert planet she would need some sort of breathing apparatus in order to survive.
And that's our concept going in.
Not only does it look cool but it's also keeping her alive.
There.
Me and Alana are in the mold room and I'm realizing this is taking way too long.
People are coming in and leaving and we're still there.
- We need to get out of here.
- It's gonna be fine.
I don't have enough time to get the cowl done.
I'm gonna forget about that right now and I'm just gonna focus on cleaning out our face mold and getting these arm pieces ready to go.
Can I help? Dude, we messed up the cowl.
Rod sees us struggling, he sees the panic on my face, and he just comes over and saves our whole day.
- My hands are your hands.
- All right, yeah.
Okay? I wanna make sure that their molds are ready for foam latex, because that would be horrible if they don't have their key pieces done.
I'm gonna take these over to the other shop.
Rod figured out what we need to do, when we need to do it, and how we need to do it.
Careful, careful.
I'm in love with him at this moment.
Without Rod we wouldn't have had our pieces ready in time.
There we go.
Oh, beautiful.
Beautiful.
If this mold doesn't open up right or just falls apart and cracks, I'm in trouble.
Me and my brother, we've never competed against each other.
We're always working together.
It's not coming out.
Do you have the strap on the right way? Oh, I don't know.
Eric and I are tight and we always like to push each other.
It's a little nerve-wracking opening up a mold.
You just don't know if it's gonna open easy or break while you're trying to get it pried open.
Luckily we ended up popping it open pretty easy.
- Alana? - Yeah, girl.
You wanna start helping me with this? We finally get our-- our face and our arms done, but the clock is still ticking and I'm trying to think about finishing up the cowl.
This cowl is crucial to our makeup.
It completes the overall look of everything.
So I just feel like I should break it open and at least see if it turned out.
- Got it? - Yeah.
Without the cowl, the headpiece is just a face.
And it wouldn't look good.
- Oh, yeah! - Oh, my God! This is good.
We finished the mold but we're running out of time.
All right.
Let's do it.
And we just start cleaning it out.
We're grabbing the clay out of it any which way we can and Nicole is not ready to give up on it.
I finally get this thing cleaned out, so I have a little bit of time.
I find the right latex and I start painting my first layer in.
All right, guys, that's time! It doesn't have time to dry.
There's nothing I can do at this point.
Our prop is not finished.
Our cowl is half-assed and our stations are a mess.
We have a lot of work to do in five hours tomorrow.
Good to be home.
Looks like we spent a day in the quarry.
So how do you feel now? We have a lot of obstacles tomorrow.
I'm worried about our cowl.
I'm having super mixed emotions about tomorrow.
Concentrate on the work.
Do your best work the best you can.
I have, at this point, I think more faith in Alana than Alana does in herself.
Come here! I could see in Tommy's face just this ridiculous pain.
If it gets down to like the bottom and you guys are one of the bottom groups, what are you gonna say to the judges? You know, I don't wanna be one of those guys that throws somebody under the bus, but I'm sure not gonna-- I'm not gonna go down without a fight.
So it's application day.
We have four hours to get everything done in the lab.
And then we have one hour for last looks and then it's out of our hands at that point.
Hi.
You're gonna be a badass assassin bounty hunter.
Okay, okay.
Boba Fett watch out.
Its very, very alien flower inspired.
The cowl has to go down first before the face.
So the first thing that I have to do is run latex.
It dries very quickly-- about 20, 30 minutes.
Hello.
I'm Joe.
Nice to meet you.
Today, going into this challenge, I'm telling myself no matter what, I am just going to do what he asks me to do.
There is no options on not using these.
Got you.
Oh! Awesome! There's a lot to get done in four hours.
Rod's gonna spend his time applying the makeup.
So while he's doing that I'm making our polyfoam body.
I need to see where I place the body.
If I just put it on there and it's not in the right position, there's gonna be a big gap between the appliance and the body.
Base of your neck.
There.
So right around the bottom of these right here is where this here needs go.
He looks like a tubby bastard.
Seriously, girl, we're not gonna have any edges.
We still need to finalize our costume, we still need to get everything glued down but the main thing we want do is color.
Fuck.
I'm starting to peel out the latex mold.
I start to feel wet latex.
And I know that it's already ripping and it's not working.
- We have three hours left.
- Okay.
- I know I can make a hat.
- All right, make something.
If this doesn't come out, our makeup's gonna be very, very minimal compared to what everybody else is doing.
- Are you stressed? - No, I'm good.
I'm just trying to work as fast as possible.
Yeah.
We gotta-- we gotta step it up today, you know.
Derek keeps saying like, "we need to step it up.
You know, we don't have a lot of time.
" We need to step it up.
We got to go a little bit faster.
It is what it is.
We're gonna need to-- we need to step it up.
I just wanna go fast, you know.
Yeah.
No, I get it.
I get it.
I'm trying to stay out of Derek's way because I'm noticing that he's not working well under stress at all.
- The colors are looking good.
- Yeah.
As I'm working I'm noticing I can't find what I need to make this work.
Wow.
I don't know.
I'm in a little bit of a loss right now.
Alana has a piece in her hand and it doesn't look good.
All right, well, do you want me to go back to that? I'm really starting to worry.
- Just keep casting the thing.
- All right then.
I'm sorry.
So I'm gonna do it.
And I'm gonna start over again.
I have faith right now Sort of.
The paint is so important.
Like right now I'm freaking out because the color is not coming out.
It's too red and I wasn't really going for a red look.
We were trying to go for an orangey, you know, maybe even skin-tone color, and it just didn't come out that way.
- Yeah, dude, be nice.
- Okay, okay, okay.
I can hear her going, "ow! Stop!" And like she's not happy.
- When you press down - I understand.
- Like my neck is like - I understand completely.
At this point I'm just getting embarrassed.
- 49 minutes.
- Fuck.
That's the fastest four hours I've ever we had in my life.
I don't understand how it's gonna stand up on the head.
I'm starting to peel out the slip latex mold and Alana's really, really frantic at this point.
Are you sure you wanna be responsible for that? I could go make something right now.
Oh, man.
A cowl goes down before the face especially for our design.
So until this cowl is finished, I cannot lay this face down.
I'm pulling it out right now.
If this doesn't come out, we're gonna be screwed.
It worked dude.
Now we rock n' roll, girl.
Try to fill a little bit of paint on that face, too.
We're so behind at this point.
I'm looking around and everyone has amazing paint jobs on right now.
And our girl is bare.
This is not good.
If we don't pull this paint job off like amazing we're gonna be in the bottom-- No pressure.
All right, that's it! Times up! Our cowl is not painted.
Our model has her arms painted barely and our face is completely blank.
There's no way this is gonna work.
We're in trouble.
Coming up Welcome to the Face Off reveal stage.
I think it's amazing.
I'm just smiling from ear to ear.
It looks like a squished frog that you put an easter hat on.
It's singularly unexceptional.
I'm starting to stress especially after seeing everybody else's work.
We have one hour backstage for last looks.
And there's a lot to get done.
Please be careful with this prop.
It's made with a lick and a promise.
I honestly believe we're gonna be in the bottom two with this.
So maybe not the costume first.
We absolutely should put the costume on first.
We have to get that costume on because it's a full suit of female armor - and it's gonna take time to put in on.
- Not the costume first.
Joe decides, "oh, no, I gotta paint everything.
We can't put the costume on yet.
" Maybe we should have him stand.
Now is the time to panic.
Because we haven't tested any of this except for the main body piece.
I don't know how the legs and the arms and all that are gonna fit our actor.
That's ten minutes everybody.
Ten minutes.
This is good.
All right, I'm gonna keep painting, okay? Oh, my God, I am in love with it right now.
Our creature's just wearing underwear.
The entire concept is completely lost.
All right, guys.
That's time.
- We got it right here.
- Whoo! She doesn't have her shoes or her staff or anything.
It's okay.
It's okay.
We didn't even have a chance to put her boots on.
So she's barefoot.
Welcome to the Face Off reveal stage.
Tonight one of you will be eliminated.
Say hello to your judges.
Owner of Optic Nerve Makeup Effect Studio Glenn Hetrick.
Welcome, everyone.
Three-time Oscar winning makeup artist Ve Neill.
Hi, guys.
Creature designer and director Patrick Tatopoulos.
Hello.
And just so you all know, starting next week, Patrick is gonna begin working in Bulgaria.
He's the production designer for the highly anticipated 300 film Battle Of Artemisia.
So, Patrick, we will all miss you so much, and we wish you the best of luck.
Well, I'm gonna miss you all too, but you guys are in great hands.
And good luck to all of you.
With that, let me introduce you to your new series judge.
He's an incredibly accomplished creature and concept designer who's worked on Avatar, Star Trek, Super 8, Green Lantern, and Prometheus.
Please give a warm welcome to Neville Page.
Neville just has a huge list of credits.
It is so impressive to have him on the panel.
Thank you very for having me.
Well, thank you so much for joining our amazing panel.
So, guys, this week your spotlight challenge was to create an original alien that would fit into a modern version of the classic Star Wars cantina scene.
Let's see what you've come up with.
I'm feeling pretty good about our makeup but at the same time, with my partner having immunity, if they decide they don't like something about this one, that's on me and me only.
It's just awful.
I can't even look at the judges.
I think she looks amazing.
I'm just smiling from ear to ear.
Hopefully the Star Wars geeks out there appreciate it as much as me and Sarah do.
As we planned, the silhouette looks awesome.
Everything else I'm starting to stress especially after seeing everybody else's work.
This is perfect.
This is better than I thought we could ever do.
I think we can honestly maybe be a top look for this.
I'm not 100% crazy about our creature.
But I'm most happy about my chest piece because you can actually see the texture which was my goal.
All right.
Let's see them all together in our version of the Star Wars cantina scene.
Judges, why don't you take a closer look? For them doing all that stuff it stayed together really well.
Move your face around as much as you can in there.
Hmm.
Glenn's, like, knocking on the vacuform pieces and they're poking at the pieces that weren't really glued down all the way.
So I'm not sure where we stand in the judges' eyes.
Okay.
So this is worn out.
Uh, does that look intentional? There's not a whole lot happening.
No.
No.
Structurally on the neck either.
You can almost smell their disgust with the makeup.
No toes.
No feet.
You can see it from a mile away, it's garbage.
It's a mess.
I'm thinking I might be going home.
We wanna know what you think of tonight's transformations.
Tell us on Twitter using #faceoff.
Anyone can see, from a mile away, our makeup's garbage.
Where did they pick this up at? And I'll be damned if I'm not gonna defend myself.
Can you put that on so I can just get a look at those? It's very nerve-wracking to see all four judges looking at your work, poking, prodding.
Really around the lip.
They used the lip liner that just covered it.
That's beautiful.
Can you articulate that? Oh.
I like that it does make a connection to the head.
- I mean, it's cool.
- Yeah.
Open your mouth and close.
Thanks.
Okay, the judges have scored your creations.
Let's find out what they thought.
Eric, Jason.
Nicole and Alana.
Congratulations.
You are all safe and can head back to the makeup room.
- Thank you.
- Thank you.
- Thank you.
- Thank you so much, guys.
I am jumping for joy, 'cause I'm here for one more week.
Okay, that means the rest of you were the best and the worst of the week.
The judges would now like to speak with each of you to learn more about your work.
Laura and Sarah, step forward.
All right.
Glenn, let's start with you.
I'd like to begin by asking to tell us a little bit about the concept behind your character.
She comes from the Dagobah System which is very moist, but she lives on Tatooine.
That's why she's got the breathing apparatus.
And her costume helps retain that moisture.
It's the whole suit get-up.
I'm pleased with this.
Rick Baker's work on the aliens in the cantina-- even though they're technically background characters, each of them have their own backstory.
And the fans have come to embrace that and extrapolate upon it.
It meets that bar to me, it feels like it has a story when I look at it, and it feels like it belongs in the cantina.
- Thank you.
- Thank you.
That's what we were going for.
Would you mind removing the cowl for us so we can see the whole costume? Yeah, she's fantastic.
She has a great profile.
I really love your color choices.
I love the costume.
Really excellent job, ladies.
- Thank you.
- Thank you very much.
- Congratulations.
- Thanks, guys.
You know, there's one thing you did that nobody else did is put that cloak on top of the character.
And when I look at this cantina scene, they all seemed to be coming from the desert and they're wearing those cloak on top and that was a very clever touch to bring it into that world.
- Good stuff there.
- Thank you.
I like the fact that you mentioned the Dagobah System.
She has a specific origin.
So you've been doing your homework which is great.
We're such geeks.
The fact that you brought all these bone lines throughout the head down into this really very cool wrist articulate treatment, I thought it was beautiful detail.
Out of all the makeups that I think we've seen, several seasons, edgewise, this is probably the cleanest makeup that I've seen.
Wow.
Thank you.
Please step back.
Derek and CC, you're up.
Can you tell me a little bit of back story about where your character comes from, why he's red? He's a desert creature from Tatooine.
We wanted to pull the musical element into it.
So we decided to give him a musical instrument and just kinda make him more of a jazzy-type alien.
I think maybe you've done yourself a great injustice by choosing that color to paint him.
Painting him red, it's really difficult to even see the sculpting in the character.
He just kind of looks like-- It was sort of a bad burn job.
I'm feeling very similar to that.
Yesterday when I saw you, I thought, I was actually really impressed with the way you were sculpting this.
And going just red you actually cancelled all those great detail you had done.
Those eyes at the top of the head, I wish you had done something that hold the real eyes - in the same world.
- Right.
Something sort of tying them together.
I'm curious, who was responsible for what aspect? I sculpted the face.
Um, CC sculpted the arms and chest area.
And I did a majority of the paint job.
The thing for me that I think you have to be very careful with is when you bake in an expression.
If you're gonna bake it in, that's all that they're gonna be able to emote but I'd like to think that the actor underneath it is gonna have the opportunity to express themselves.
Okay.
Please step back.
Let's talk to Roy and Rod.
Tell us a bit about your concept.
Nobody knows where this guy's from.
He just hangs around Mos Eisley and cons other visitors out of their possessions.
He's so small that he has to have this contraption to get around, and he's too cheap to take-- buy one that floats, so he's got the older model that has the legs with it.
Got you.
The sheer concept is just unbelievable.
- Thank you.
- So I'm extremely impressed.
I'm thinking of the detail, just the dirty feet.
All those little detail, add it on top of the humungous amount of work is unbelievable.
Thank you.
I'm so impressed with the fact that you pulled this off in such a short period of time.
So which of the two of you did what on this project? Is this-- this defines ambitious.
Roy is an amazing fabricator.
And this vehicle is his.
Rod, your deal was primarily the humanoid - Yes.
- Thingamajig? Rod took it and sculpted the face and then me and him together worked on the body.
When you take on this much work, time and again, we've seen that can be the key to failure.
But it wasn't, so that speaks volumes about your time management skills.
Well done.
You did everything well, even the hair work.
Your paint job is beautiful.
Your edges are great.
It's an amazing creature and I think you just did a wonderful job.
- Thank you.
- Thank you.
You can both step back.
Tommy and Joe, step forward.
There's no way in hell I'm going down with this.
Joe led this project.
If I don't explain what I'm responsible for and why this piece failed and apologize, I might be going home.
Can I just say something? I'm gonna try to do this in the most tasteful way possible.
I can honestly say it's my fault.
I really wish I would have taken lead on this.
I wish I would have painted it.
I'm ashamed to bring this before you guys.
We had a lot of problems working together.
I felt that the only way for us to accomplish anything was for one of us to take point, and halfway through the second day apparently, the only way that was going to happen is if I took direction, I mean, I'm not throwing him under the bus by any means.
Kind of, you are.
Actually, yes.
- I'm not trying to.
- Yeah.
It just breaks my heart to have to stand here like this for you guys.
Yeah.
Are you finished? Can we get to talking about the makeup? - Yeah.
- It's singularly unexceptional.
I'm drawn to the crudeness of the color application, and so many of the mistakes are completely indefensible.
The color scheme looks like layer, after layer, after layer of one color resulting in a stunning shade of mud.
When you're doing the color application, tell me exactly who's doing what and how that happened? I actually painted the entire head.
What color scheme were you going for? Like what was the intent? I was gonna do something like a turtle on top.
Wow! I never would have picked that one.
It looks like a squished frog - that you put an easter hat on.
- Okay.
One of the problems is there's no focal point.
There's no place that I think I want to look.
Quite frankly, I just wanna look away because it's so offensive aesthetically.
And what happened to her feet? We ran out of time.
You guys do realize that, if and when you make it into the profession, you're going to have to work with people that you do not like.
It's a fact.
- No.
Absolutely.
- It happens.
And so this is a mark of professionalism, your ability to overcome that obstacle and get on with it, because it's extremely important.
I was trying to accomplish what he originally envisioned or what he originally drew.
I couldn't do a single thing without you touching it or telling me how wrong I was doing it, because apparently you know everything.
Somebody back me up here.
I'm sorry.
All right, the judges have heard what you have to say.
Please head back to the makeup room while they make their decisions.
- Thank you.
- Thank you.
Thank you.
That last one was torturous.
All right, guys.
So why don't we start with the top looks? What are your thoughts on Rod and Roy? - I loved it.
- Extremely ambitious.
The amount that they accomplished, in their first week too, that makes it even more exceptional.
Kind of telling too how well they got on.
You couldn't have done it any other way.
Everything they did was absolutely well thought-out.
Rod did the makeup part and what, Roy did the fabrication, right? Mm-hmm.
Each of those fingers had a different, weird little gnarled claw.
There's a story in each one.
They thought of everything.
Okay, let's move on to Laura and Sarah.
I'm extremely pleased with what they did in this challenge.
I think it fits the Star Wars aspect of our challenge.
A lot of it has to do with the cloak and the hood.
That felt like it fit into the old Star Wars.
I love the organic sculpting in the head, as we've not really seen anything like that.
- It was beautiful.
- Beautifully done.
So the question, I think, we have to ask ourselves now is do we go with Sarah and Laura's really beautifully executed makeup, which may be the cleanest we've ever seen on the show? Or do we award Rod and Roy for this really incredibly ambitious concept that in the end they executed brilliantly? All right, so let's move on to the bottom looks.
Why don't we start with Joe and Tommy? - You talk about a hot mess - Yeah, right? That was a hot mess.
Both emotionally and creatively.
The sculpting was really creative and interesting.
It disappeared into the paint job.
If they would have painted it differently it would have been a completely different creature.
Yeah.
Equally loathsome, the approach that Tommy took to the Q and A.
Yes.
It felt very groveling and desperate.
- It's a lose-lose situation.
- It is.
Because that's his only opportunity to save face.
All right.
Let's talk about CC and Derek.
This one for me was a disaster of boredom and a disastrous creature that looked like it could be used for anything.
There is no personality whatsoever.
What they've done with the paint completely killed it.
I was so surprised to see that how much you can kill a sculpture with a bad paint job.
I thought this thing was, at best, uninspired.
If you're going to make him a saxophone player, I would have loved for them to have worked on the saxophone a little bit as a prop and made it something that we can believe belongs in the cantina.
His eyes were lighting up but his actual eyes were like dead holes.
They had no direction.
All right, judges, have you made your decisions? Yeah, I think we're there.
Okay.
Let's bring them back out.
All of us are backstage and Tommy looks tormented.
I can't imagine the pressure building on him and Joe.
I'm sitting backstage and the door flies open and Joe's just gone.
- What happened? - Joe left.
I'm so confused right now.
Where's Joey? Did he just run like out of the building? If he just like decided to take off, then I don't understand what that means.
What happens if Joe doesn't come back? I'm sitting backstage and the door flies open and Joe's gone.
It's gotta feel horrendous to have judges just rip into you.
What happens if Joe doesn't come back? As you've noticed Joe is not here with us on stage.
He has chosen to leave the set and has therefore been disqualified from the competition.
I really don't know what's going to happen now.
Does that affect the judging? If he wasn't the one going home anyways is somebody still gonna kicked off? Derek, CC, Tommy You are all safe.
No one is going to be eliminated tonight.
You can head back to the makeup room.
Thank you.
He's disqualified.
One more week, one more time.
- You're safe.
- One more time.
Yay! I'm just so happy that this challenge is over and I can finally show that I can do something.
All right, Glenn, tell us about the top looks.
Our top two makeups tonight were Rod and Roy.
You were incredibly ambitious and that huge risk really paid off.
Laura and Sarah, we felt that your character captured the quintessence of the Star Wars cantina scene.
Which team came out on top? The top team tonight is Rod and Roy.
This was a really tough decision tonight.
But we felt that in this challenge, had to reward the amount of creativity that went into that concept.
It's something we have not seen yet.
- Rod and Roy, great job.
- Thank you.
As the winners of this challenge, your character will be featured on the official Star Wars website in its original design and recreated in the style of The Clone Wars.
I can't believe that the piece that we made is gonna be part of the Star Wars universe.
But as you know, we can only have one winner.
Glenn? The winner tonight is Rod.
Thanks.
You both did an incredible job.
But ultimately it came down to the makeup aspect of this creation which we felt was a bit more you, Rod.
- Rod, congratulations.
- Thank you very much.
The four of you can head back to the makeup room.
- Thank you.
- Thank you.
Great job.
- Who won? - Rod.
- Here's the winner.
- Good job.
Yay.
Winning the spotlight challenge feels great to have my work acknowledged in that way.
You guys are gonna be on the Star Wars website.
Isn't that amazing? To have the judges recognize how much work went into it and for them to sincerely congratulate us-- What a wonderful thing.
Whoo!