Face Off (2011) s04e09 Episode Script

Previously on Face Off Anthony's bioluminescent creature brought him his fourth win Thank you guys so much.
And Meagan and Eric Z were sent home in a surprise double elimination.
Now, just five artists remain.
Tonight, they'll tackle a challenge inspired by one of the most iconic film franchises of all time.
Everybody loves this film.
Use this as inspiration for your designs.
With the finale on the horizon, the pressure begins to take its toll.
I don't have any paint on the body at all.
I'm not gonna be able to get this out, and if I try to rush this thing, I could destroy all the work that I've done.
It's time, guys! This is really rad.
Oh, wow! You totally ruined your whole makeup.
If I'm gonna be eliminated for this, this is a good one to go home on.
This is pretty much camera-ready.
In the end, only one will win the opportunity to be a guest lecturer at Make Up For Ever's academies in New York and Paris, the all-new 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Welcome to Face Off.
- Good morning.
- Morning, dude.
What's this? Ah, Meagan left a little note for me, man.
"Rule number one, don't fart in women's faces.
" Meagan and Eric are gone.
I got a really sweet note from Meagan saying that it's nice that she can call me a friend and to definitely give the other boys hell, which I'm planning on doing.
Good morning, guys! Last Eric standing.
Can you believe it's just us? The elite team of badasses.
- Final five.
- It's insane, man.
I can't believe we made it this far.
I got to be honest.
It's really crazy at this point because the five of us that are left, we're all very run down.
This is the longest I've been out of communication with the wife and kids, and I really want to make them proud, so, that is the biggest drive to do well in this.
We can take on anything, guys.
We're walking through this awesome, very historic theater, and it's very beautiful.
It's decked out in Egyptian art all around the building.
McKenzie's standing there, and there's six tablets, and on the tablets, there's these sculpted beings, and they all have these headdresses on and staffs.
Welcome to American Cinematheque's Egyptian Theater, the location of Hollywood's first-ever movie premiere, but we're actually here to talk about the cult classic Evil Dead.
Yes.
I love this film.
My kids love this film.
Everybody loves this film.
It's Evil Dead.
The original franchise was so successful that it's currently being remade and is set for release by Sony Pictures in April.
In the film, five friends are holed up in a remote cabin, where they discover a book of the dead and unwittingly summon dormant demons which possess them in succession until only one is left intact to fight the survivors.
The real Book Of The Dead is actually an ancient Egyptian spell book, and some of the most iconic images from the book are the gods they worshiped.
Those gods are the basis for your spotlight challenge, select one of the Egyptian gods and bring it to life.
Evil Dead meets an Egyptian God.
- This is right up my alley.
- But there's more.
Ancient Egyptians had a very specific way to ensure they would find their way back from the afterlife - mummification.
- Hm.
So, inspired byEvil Dead, you will create an Egyptian God mummy rising after thousands of years of decay.
Oh, yeah.
You know, that's a lot to incorporate.
I've never made a decomposed or mummified body, so this challenge is gonna be really, really interesting.
Kris, you're up first.
Khnum.
Anubis.
Ra.
Sobek.
Thoth.
Before I send you off to work on your sketches, I have a special message for you.
Hi, folks.
Bruce Campbell here.
Oh, wow.
Bruce Campbell is great.
He is the star of the Evil Dead franchise, so it just really pumped me up.
I am very excited that you are creating makeups inspired by Evil Dead.
I want to give you a couple pointers, though.
The latest movie has a more serious tone than the original, so make sure your makeups are very haunting, creepy, and scary, so have fun, be original.
Good luck.
Everyone who knowsEvil Dead knows Bruce Campbell.
He's a horror icon.
All right, look around and use this great place as inspiration for your designs.
When you're finished, head back to the lab and get started.
I will see you tomorrow.
We get 30 minutes to sketch.
There was all these great Egyptian symbols on the wall.
I open up my sketchbook, and there's a small paragraph about the God that I chose.
He is the God of water and creation, and he's got a ram's head.
I want to make sure that the head really shines to impress the judges.
I'm excited about this challenge.
I love The Evil Dead.
This makeup's very important.
I've been on the bottom twice.
Luckily, I was able to bounce back.
I just got to continue to bring it because everybody's so good.
I chose Anubis.
Anubis is the God of embalmers and death and everything.
The skin's gonna be very tight to the bone structure, and parts are gonna be torn as well as he's obviously gonna be wrapped in a lot of cheesecloth.
So I picked Sobek.
The Egyptians would pray to him because the Nile river was so important to them, and he's the God of the crocodiles.
To bring in that Evil Dead sense to where it's mummified, I'm gonna exaggerate the rib cage.
This time, I'm really gonna try to focus on the paint.
I know I've said it before, but they know I can sculpt, but it's pointless to have good sculpting if you can't bring it to life with your paint job.
LoveEvil Dead.
One of my favorite films growing up as a kid.
Yeah, this one, I got.
Ra is the God of the Sun, and I'm really gonna put the Evil Dead spin on it, a real stylized, predominant brow.
So it's gonna be sweet, man.
Thoth is the Egyptian Moon God, and he's a scribe.
He writes on his tablet, but I'm seeing his body as the tablet.
He's gonna have etchings all over him.
I thought last challenge was something that I was familiar with as well, but I came up short on that one.
So I have to redeem myself on this week's challenge.
Come on, guys.
First day at the lab, we got five hours.
We get to pick our models.
I decide to pick a female model just because it's hard to take one of these big, muscle-bound guys and turn them into an emaciated mummy.
I want to spend time on the chest which is going to have a lot of detail with all the hieroglyphics on it, and the face, which is going to be very busy, and rotting, and decaying.
I'm also creating a headpiece.
So I'm juggling three different sculptures at once.
I'm gonna go ahead and start on the body first.
I'm gonna do a giant chest piece, almost like a giant vest, that he just slips on over his head.
I'm gonna sculpt the body first and then make the head fit the body, so, that way, the neck matches better to the headpiece.
You know, at this stage of the game, we're all such great artists.
They're gonna be really, really picky on every aspect.
Someone's gonna be going home with a really good makeup.
It's really important that I get my face sculpted and get the body started, so, that way, they're all textured uniformly as opposed to sculpting a head, and, then, going back, and sculpting a chest, and hoping everything lines up.
To give it the Evil Dead twist, I'm just gonna go with '80s-style zombie corpse makeup.
My plan for my mummy is to give him this wolfman-esque, mummified face that will entail a foam latex prosthetic on the face, a chest piece, a back piece, and then I have to sculpt some kind of headdress.
I finish the sculpture of the chest, and now it's time to make the mold.
You do this by putting a cement-type substance over the sculpture.
Once it's hardened, you open it up, clean out the clay, and fill it with silicone or foam latex which becomes the prosthetic.
How's your mummy coming along there, House? It's coming.
The last challenge didn't go so well for me.
That was a nail-biter, man.
Yeah, that last challenge was seriously the most stressful one yet.
I am a little stressed out because, for a piece this size, it's almost impossible to do in 14 hours, but I'm still trying to keep it together.
I really am missing the family at home really bad right now.
It's the longest I've been away from my kids and my wife, and it's really taking its toll on me at this point.
You're gonna make them proud.
Thanks, man.
I'm trying.
It's been really difficult to be away from the wife and kids, and it's hard.
I'm feeling very, very worn out.
I don't know if I can pull this off.
I'm exhausted.
This is a lot of work.
Coming up.
I may need some help on this one, Kris.
If I can't get this mold finished, I won't have a prosthetic.
There's a couple of odd things about this.
All that's going through my mind is "three strikes, and you're out.
" I think you all did a great job.
It is day one of our Evil Deadchallenge.
It's been really difficult.
I'm tired.
But I just remember I'm doing this for my family.
That, to me, is the biggest drive to do well in this.
So I'm going to work like a madman to get this done.
- 45 minutes, Kris.
- 45? - 45.
- Fuck.
I'm trying to finish up my chest mold.
I've got a hairdryer on the stone part, trying to speed up the process.
I'm really racing against the clock here.
I want to get this thing done So close, baby.
So close.
And then I realize that I'm not gonna get this done.
If I try to rush this thing, I could break the mold and destroy all the work that I've already done.
I'm not gonna be able to get this out in time.
There's no way.
In the end, I opt to just wait till the next day.
Gonna keep rubbing it down until they call time.
All right, guys! It's time! So close.
Always ten more minutes.
When I come in tomorrow, all I have to do is clean that thing out, and that's all ready to go.
Then I can jump on the face.
It's day two.
Today, I have to finish sculpting the chest and back piece, get that molded, jump onto the headpiece, and get it casted.
I open my mold, and I'm trying to be very careful so it won't crack.
Luckily, everything opens up okay.
Everything looks beautiful.
First thing I want to do is get that giant, two-piece mold open and cleaned out.
I want to let it sit in the sun so it bakes all the moisture out, so my chances of getting a really good foam latex appliance is gonna be better.
I still have to fabricate my headdress as well as get my face and my body molded.
I got a lot of molds to make and a lot of sculpting to finish up.
The mood in the lab is a nervous quiet.
There's only five people left.
I was bottom looks last week.
I would like to redeem myself.
I have to, man, go big.
There's no more room for error, no more room for just making it good.
Good's easy.
It's great that I strive for it.
Oh, that's cool.
That's super cool.
- Hello, guys.
- Hello.
- Hello.
Here to do a walk-through.
Yeah, I'm looking forward to it.
I was an art history major, so I know all about Egypt.
Let's see what you're doing.
- Hi.
- Wow.
- I like it already.
- Excellent.
- Okay, so you have Thoth-- - Thoth.
Yes, he was known as the scribe, and instead of writing on a tablet, I'm using his body as the tablet.
With your scribing that you're doing on the body, make it deep enough and wide enough so when you go to paint, it'll actually read, and it doesn't look like just a scar.
Yeah, good point.
All right, so you have Anubis.
Part of my inspiration for this, especially with the face, is kind of a mixture between Boris Karloff's mummy - meets Lon Chaney Jr.
's Wolfman - Wolfman.
I'm gonna paint the skin, then do a little bit of open latex to just give some texture.
It wouldn't hurt to maybe have a little bit of flesh hanging, a couple of little spots that are hanging that you could paint, that would make it look more like rotting flesh than just-- - Laying over.
- Yeah.
All right, so tell us about the god you chose.
He's a human but with a crocodile head.
Now, how are you feeling with your time on everything? Really, the only pieces I'm sculpting is the chest and the head, and so I really wanted to take time to really show that sculpting ability that I have.
I know in the last challenge, where you had all this wonderful sculpture, your luminescent painting didn't pop like some of the other ones did.
It all disappeared.
Did you leave that to the very end and not have enough time to do it? Yeah.
Yeah, pretty much.
Yeah, if you make it down to the end, this is what could make or break your chances of winning, is not having your time management down.
So you have Ra? - Ra, God of gods.
- That's right.
I'm trying to incorporate some of theEvil Deadaspect.
Therefore, I did the kind of traditional, like, arched brow, extended the chin, which are two characteristics used in the Evil Dead makeups.
What are you gonna do that's extra to give it a mummified look? I'm actually using these Make Up For Ever sponges.
Once I get my detail carved lines, - I go back in and - Show me.
Give that kind of beef jerky-type look.
Yeah, the rougher, the better probably.
Yeah, it'll really pick up the washes.
- Oh, yeah? - Very good.
All right, so tell us about Khnum.
Khnum is the God of water and creation.
What are you doing to mummify? Latex and tissue, or cotton or whatnot, yeah.
I don't want to wrap it up all the way in the bandages, 'cause I really want to show off all the work I put into it.
With the eyes here, are you going to be able to see eyes? Yeah.
As long as they're gonna be there, and he's gonna be blinking.
- When he blinks-- because-- - It'll look young.
- It'll look young.
- Yeah.
So blend your eyelids right into the makeup.
Thank you for that tip.
All right, everybody.
We're leaving, but it's looking great.
It's gonna come down to time management.
Be thinking of that as you're working now.
It's gonna be very important.
- Good luck, guys.
Thank you.
- Thank you.
- Thank you.
That's gonna look so frickin' good, dude.
Thanks, man.
I sculpt two horns, and I get to a point to where I know they're gonna fit perfectly, and once I have that, I put my final touches on the goat face, and I start molding then.
One hour.
I'm really nervous about time on this one.
I need to get the chest molded and ready to run foam in it.
I'm gonna have to make the fastest two-piece mold of my life to try to get this thing ready for foam.
For the blow-dryer? Extension cord? The ultracal has to set up in a certain amount of time before you can de-mold it.
If not, it's just gonna crack and fall apart, so I'm gonna throw a plastic bag and a blow-dryer on it, get this dried as fast as possible.
Tomorrow is application day, and if I can't get this mold finished, then I won't have a chest piece.
How is your mummy coming along there, House? It's coming.
Fox and I start talking about the Evil Dead.
I saw Evil Dead in a movie theater when I was 12 years old.
Evil Dead 2, saw that one when I was 17.
Army Darkness, that movie is so cool.
The Evil Dead franchise is huge to me.
Mi kids would love the Evil Dead 2.
Thant thing is playing quite often over at the Fox family house.
I saw these films as a kid too, so, I'm all in favor of it.
One of the ultimate party flicks.
Today is the second day of our mummifiedEvil Deadchallenge.
I'm really nervous about time on this one.
If I can't get this chest finished, I'm gonna be screwed.
You need help, man? I may need some help on this one, Kris.
I have to pray that this mold's not gonna crack or break.
These pieces are gonna be foam latex, but foam latex needs to bake overnight, so I have to get it done quick.
Clean the core for me, please.
Here's some paint sticks right here.
We get my mold ready for foam, and it's gonna be able to bake overnight, but there's still a lot to do.
I start sculpting a headdress.
Unfortunately, I only have about 40 minutes to get this thing roughed in and sculpted before I have to put it into molding.
Otherwise, I'm not gonna have this piece, and it's very stressful towards the end, very hectic.
Four of us are in there making molds in the last 40 minutes.
Fox starts his at the last 15 minutes.
I'm just hoping to get the front and back halves made before the day goes out.
Agh! - Is that hot water? - I think so.
All right.
We're all doing the same thing at the exact same time, and we're rushing really fast, but we don't have enough time to open them and clean them and fabricate them That's it! Wrap it up! which means that we have to do it on day three.
Not a good sign.
What a day.
End of day two, we're physically and mentally exhausted.
We know we have a lot to do on day three.
The four of us have to open our molds, clean out the molds, latex them up, - and polyfoam them.
- Polyfoam 'em.
Opening the mold and getting that piece polyfoamed will take a good chunk of time for all of us.
They're all gonna be so badass.
It's gonna be a small detail that's gonna send someone home.
You know, somebody's gonna be going home with a good makeup.
I love you guys like if you were my brothers, man.
- Yeah, same here, man.
- Right on.
- Pound it.
- Right on.
So application day, the first thing I do is run straight for that Anubis headpiece mold, just try to slowly and easily open it.
I clean out all the clay so I can start running it in polyfoam.
We have four hours in the lab, and an hour at last looks.
I mean, it's kind of funny because everybody is in the mold room, pulling their pieces, cleaning out clay, and slip latexing and polyfoaming.
I'm already behind.
I have to open my molds.
I have to clean them out.
I have to do latex and polyfoam.
So much to do.
You're gonna be Ra.
- Nice.
- What's going on? - Ready for another one? - Yeah.
- Ready to become a mummy God? - Right on.
- You'll be actually inside the head, - Yeah.
so you'll be able to move the jaw with your jaw.
Really? I make a vac-u-form copy of my model's face for the chin piece, and also for the horns to rest on his forehead, so it's comfortable for the model.
And this will be your headdress.
I test fit the Anubis head.
- Is that really tight? - It's tight.
It's initially too small Yeah, it's pretty tight.
So I have to rip out quite a bit of foam in order for it to fit and sit properly.
That's better.
I immediately get the torso on my model.
Okay, go ahead and blow-dry down.
Get the arms covered, get the legs covered using a build up of latex and paper towels.
It leaves a really cool texture.
With this makeup, no jumping jacks or anything crazy.
Okay.
I'm planning on getting some of those good color bursts in his skin to get this old, amber-type look.
I'm noticing it's looking a little flat, so I'm doing some drybrushing over that to push those layers of color deeper within the skin, and, like, sink in the shadows, and bring out the highlights.
All right.
That's good for now.
I sculpted on a pretty big mannequin, dude, but we'll see.
I know it's still gonna be a little tight.
The face is mostly pre-painted.
It needs some paint to bring it a little more to life, but the headpiece doesn't come out as nicely as I planned.
My sculpture is a little rough in the chest area, but it's a mummy, so and I'm thinking it will come off okay.
Ten minutes left, guys.
Looking around the shop, everyone else has a paint job going, and pretty much a finished piece, and I don't have any paint on the body or arms or legs at this point.
Let's go.
It's time, guys! At last looks, when I get there, I'm gonna have to, faster than a ninja, put this thing on his face.
I am very worried at this point that I'm not gonna get any paint on him at all.
Coming up It's stuck, and I still have to push it back another four inches.
I'm sorry about the face thing, dude.
At this point in the game, mistakes will cost you.
This guy is camera-ready.
So we get to last looks.
It's gonna be one of those crazy times again.
We have one hour to finish this makeup, and I have to base out my entire character, put the face on, and, then, put the wardrobe on.
So I have a ton of work to do.
Let me see the inside of your hands.
I put the telesis over your eyebrows so the pros-aide will stick to it.
Awesome.
Thank you.
I glue his face down, and I'm feeling it's underpainted, so I drybrush a gold onto his body to really lift them up from the lower cracks and crevices.
How's that hold? Do I need to make it tighter? There's ten minutes left, and I'm having some problems putting the face on.
It's literally stuck, and for it to fit properly, I still have to push it back another four inches.
I'm sorry about the face thing, dude.
I thought it would fit better than that.
I think the headdress looks great.
- Does that feel okay? - Yeah.
It lines up right above his eyes, so you can see a little bit of a brow.
That's it.
Time's up.
Brushes down.
You're actually looking pretty good.
Nice.
Good job.
I get the head on, but it's sitting off his face by about two inches, but it still moves enough to where I'll be able to get by.
Welcome to the Face Offreveal stage.
Tonight, one of you will be eliminated.
Say hello to your judges.
Owner of Optic Nerve Makeup Effect Studio Glenn Hetrick - Good evening, gentlemen.
- Hey, Glenn.
Three-time Oscar-winning makeup artist Ve Neill - Hi, guys.
- Hey, Ve.
Creature and concept designer Neville Page.
- Hello.
- Hey.
- Hi.
This week, your spotlight challenge was to bring one of the ancient Egyptian gods to life, but since this challenge was inspired by the Book Of The Dead from the Evil Dead franchise, we asked that you make a mummified or decomposed version of them.
So let's see what you've come up with.
My crocodile God Sobek walks out on stage.
It looks like he just came right off that tablet, and he's standing out there.
It's a really cool presence, and I'm so excited to see this makeup.
I feel like the design is super.
I'm hoping the judges notice all of the hieroglyphics that are carved into the skin.
I think he's pretty striking.
I do like the way he looks, but the gauze is a little too white, and some of the paint job does kind of meld together.
I'm definitely nervous on this one.
Ra comes out on stage, and it is just "Ra-kin'" it, man.
The thing is cool.
I got a good feeling about this.
I feel pretty good about my makeup.
I'm pretty proud of it, and if I'm gonna be eliminated for this, I did a good makeup, and this is a good one to go home on.
Judges, why don't you take a closer look? Can you turn around for us? Yeah.
Now, see, he even did the back.
- That's bitchin'.
- Wow.
There's some great sculpting detail.
Yeah.
Thank you.
Odd things about this.
I personally don't like the gloss.
It takes it out of the vibe that it is a dried, dead mummy.
Turn.
Yeah.
Actually, see-- - That's cool.
- Wow, that's great.
That's emulating the wing.
There's some really nice sculpture going on, which is a total waste because of the paint.
Yeah, the paint job everywhere is kind of bizarre.
These high yellows, I don't feel like they belong in the color scheme at all.
It's a shame that these are not blended much better.
The judges seemed to be spending a lot of time on mine.
It's a scary place to be in, especially having been on the bottom twice before.
All that's going through my mind is "three strikes, and you're out.
" It's a shame that these are not blended much better, or at all.
The judges seemed to be spending a lot of time on mine.
Having been on the bottom twice before, all that's going through my mind is "three strikes, and you're out.
" This is always fun, at least to me.
Mm-hmm.
_ _ - Hmm.
- Full size.
Let's open and close, and see how much it moves.
Not a great deal.
- Love the dryness of this one.
- I know.
- I really like the paint job.
- Yeah.
Can you open your mouth? Snap at us.
Give me a grin.
Now, relax your forehead.
- Oh, okay.
Oh.
- Good.
Nice line, nice eyes.
It's like more than camera-ready, all this stuff.
Glenn, this challenge seems right up your alley.
How do you think they did? You know, it is, and this is one of my favorite challenges I've ever seen on the show, and I mean this.
- I think you all did a great job.
- Thank you.
Okay, the judges would now like to speak with each of you to learn more about your work.
Wayne, you're up.
Wayne, tell us about what you've done here.
The god that I have is Sobek.
The Egyptians used to pray to Sobek to protect them from the crocodiles in the Nile river.
He's said to have a human body with a crocodile head, and I wanted to keep the head a different color from the body to really have that contrast.
I think you did a lot of great things, and I'm pretty happy with this.
Thank you.
I'm glad to hear that it's purposeful that you go from crocodile to human, but there are probably some better ways to handle that transition.
Wayne, I'm really proud of you because you finally did a complete makeup job.
You finished the whole character, which is really awesome.
I love the whole chest cavity.
It really looks like he's sunken in.
I love all the textures and everything.
Did you not put eyes in there for a reason? Yeah, I figured the eyes would rot away, yeah, so that's why I didn't want to have it.
But it does look like they are missing as opposed to it's an orbital cavity.
That's really my only negative criticism.
That is a good sculpt.
- Impressive work, man.
- Thank you.
Wayne, please step back.
Thanks.
House.
Tell us about your character.
This is Thoth, the Egyptian God of the Moon, and he is known as the scribe, so, I made his finger a pen, and made his body the tablet.
I think that possibly was kind of to your detriment.
I think you've created a bulkiness to this character which made him look a little chunky.
It takes away from the fact that he's supposed to be decimated and mummified a little bit.
Why did you paint him all gold? Being a god, I thought he was deserving of the color gold.
The fact that the color is so unified is a huge issue, because you've got all this cool work, and we can't really see it because it's all blended together into one color.
That puts you in a bad spot this week because, at this point in the game, those kind of mistakes will cost you.
There's some really cool ideas in this.
The mask does feel a little more Venetian to me in terms of the sculptural form language that you chose.
I love the ideas, but the makeup itself just feels a little rough.
- House, you can step back.
- Thank you.
Kris, you're up.
All right, Kris.
Tell us about the concept.
My God is Khnum.
He's the god of life and creation.
In regard to the palette, it's flat, dead, and is dull, appropriately so.
I think you nailed it there.
From my perspective, this guy is pretty much camera-ready, and, up-close camera ready.
There are moments on this that are just so tight.
It's really quite beautiful.
- Thank you.
- This is really rad.
Like, I think you did an exceptional job this week.
You handled the sculptural detail in the face with exquisite nuance.
Also, it emotes really well.
- Well done.
- Thank you so much.
I really like this as well.
I love the texture of the skin.
I love all the coloration.
I mean, it really reads like a mummified body to me.
- Really well done.
- Thank you, Ve.
- Kris, you can step back.
- Thank you.
Anthony, step forward.
Tell us about the ideas that you used to bring this concept to life.
I had Anubis who is the god of death and also the patron god of embalming, so I wanted to keep his face relatively preserved, and the concept was to make him proud and having a lot of strength within death.
I've got some huge issues with the angularity of the sculpture of the face.
The biggest concern is the proportion of the death mask.
In order to accomplish that regal feeling that you wanted, that headdress needs to be pulled out much wider, and the shoulders need to be pulled out, and that would have changed the proportions of everything that you're doing here.
I think that you have accomplished that Evil Dead look with the face, which is something I have to give you credit for, but it's disproportionate, and I've seen so much better from you.
Anthony, I think you've totally ruined your whole makeup with that paint job.
I mean, you've completely wiped out any sculpting that you did on the chest.
I mean, all I can see is a flat, messy, splotchy thing.
This is not what I expect out of you, and I'm very disappointed this week.
Getting past the paint is a tough one, but looking at the rib area in particular, there's some really beautiful sculpture going on.
There's moments that I like, but you kind of ruined the whole thing as a result of the paint work.
Thank you, Anthony.
You can step back.
Thank you, guys.
Eric, you're up.
So, Eric, I bet you really had fun this week.
Would you tell us about your character, please? My God was Ra.
He is the Sun god.
I wanted to go with a real kind of '80s zombie style to kind of pay tribute to The Evil Dead, the stuff I grew up on.
You definitely got theEvil Deadthing going on.
All in all, I think you did a great character.
- I really love this makeup.
- Thank you.
Your propensity and appreciation for a particular period in filmmaking and Evil Dead feels so on the mark.
I want to caution you about having this permanent open mouth.
I don't know if that was necessary to have it be open all the time, so, just be careful of that in future.
Okay.
I am not a big fan of the colors that you chose.
Contrast should have come from brown, mummified tones, and I don't understand the redness in it.
But I think that your sculpting style works well because of the Evil Dead aspect of this challenge.
If that aspect was not one of the parameters of the challenge this week, I think you'd be in a lot of trouble.
Show me something super realistic the next time you're standing in front of me.
- I will.
- Okay.
- Thank you, Eric.
- Thank you, guys.
Okay, the judges have heard what you have to say.
If you'd please head back to the makeup room while they make their decisions.
All right, why don't we talk about the looks you like the most this week.
Let's start with Wayne.
There's so many cool things about that crocodile head, and I don't think I can pick anyone that's come before him that has sculpted as much as fast as well as what Wayne is doing on this show.
- It's unreal.
- And it was symmetrical - Yeah.
- And it had scale details.
I mean, are they perfect? No.
But within the time that he did it, they're perfect.
He wanted it specifically to be a gator head with a human body.
I would have liked to have seen it blend in 'cause it just looks a little wrong to the eye, you know? You're absolutely right, and the eyes, it's the same thing, but I'm really happy with this week's makeup from him.
All right, let's move on to Kris.
My favorite thing was the use of subtlety.
It was exquisite.
He didn't go too far with the zombification, but it is not absent from what he did.
For me, it felt so complete.
I think it's the best thing Kris has shown us so far.
- Yeah, it is.
- I think so, too.
I think he did a really great job this week.
- How about Eric? - Oh, I loved it.
It was really clean.
I know you didn't like the redness.
That didn't bother me.
I thought he did a really cohesive, really nice makeup.
For this challenge, that Evil Dead aesthetic is what he's doing.
The problem is everything Eric does looks like that because he's so influenced by those types of films.
That being said, this was a fun, cohesive makeup for him.
All right, so let's move on to the looks you liked the least this week.
Let's start with House.
- Great idea.
- Strong concept.
Yeah, it was very, very strong.
Brilliant way to integrate the scribe aspect of Thoth.
It was awesome conceptually, but that's bigger than what he was able to deliver.
Yeah, it was just too scruffy.
You know, I don't even know that it would have been good without the paint scheme.
It was very bulky.
It didn't read zombie.
It didn't read, you know, Evil Dead.
Okay, let's move on to Anthony.
I was really disappointed with Anthony this week.
If you would have told me that was his makeup, I wouldn't have believed you.
The paint is unfathomable.
It was just a big bunch of splotches.
None of that bothers me as much as his inability to look at that headdress, and the proportions, and want to make it regal, want to make it majestic, and not be able to look straight at it, and go, "of course.
" The Anubis headdress felt like a toy on top of his head.
- So bad.
- All right, judges.
- Have you made your decisions? - Yes.
- Yes.
- Yes.
All right, let's bring them back out.
Glenn, why don't you tell us about the top looks? Kris, we love the ram look of your makeup, and some of the smaller sculptural details were very impressive.
It was a very comprehensive makeup.
Wayne, your use of proportion was excellent this week.
We were also blown away by how much killer sculpting you pulled off.
Who is the winner of this challenge? The winner of this challenge is Who is the winner of this challenge? The winner of this challenge is Kris.
Whew.
We thought you did an exceptional job at handling all the various components of this week's challenge.
- Well done.
- Thank you so much.
It means so much to me.
I am just floored.
I finally got the comment, "this is camera ready.
" That just makes me feel so good as an artist.
Kris, congratulations.
You and Wayne can head back to the makeup room.
Thank you, guys.
Eric, you are also safe and can head back to the makeup room.
Thank you, guys.
Good luck, guys.
Unfortunately, that means, Anthony, House, you guys were our bottom looks this week, and one of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
House, we thought you had a lot of really good ideas, but the overall appearance was bulky and more than a little rough.
Anthony, between that angular facial sculpt and the wretched paint job, suffice it to say that this was not up to your usual standards.
So who is going home tonight? The person going home tonight is House.
Your character looked pretty cool from afar, but when we got up close, there were just too many problems to overlook this week.
House, I'm sorry, but you have been eliminated.
Anthony, that means you are safe this week and can head back to the makeup room.
Thank you, guys.
House, while you have been with us, you've brought some absolutely huge concepts to the table.
And I can't wait to see, as you grow into your skill set, how you express yourself as an artist and bring those things to life.
- Good luck.
- Thank you.
House, it's really been great having you here with us.
Please head back to the makeup room and pack up your kit.
- Thank you, guys.
- Good night, House.
I should have done better, certainly.
My hieroglyphics could have been read better.
I bid my adieu.
Dude You know it.
This season had some incredibly talented people, and I fought with the best of them.
- You're gonna be missed.
- Thank you.
I definitely enjoyed my experience here.
How many people really get to represent their artwork? There's many things that I still want to create.
So I'm going to go home and make a bunch of new stuff.
It's all good.