Face Off (2011) s05e01 Episode Script

Face Off is back for a jaw-dropping new season.
The search for the next great name in movie magic takes a shocking twist.
Veterans versus the newcomers.
Eight talented newcomers will battle eight hungry veterans back for redemption I just don't want to make the newbs feel bad.
It's war between them and us.
in a competition unlike any other.
They'll face breathtaking obstacles - Oh, my God.
- I'm freaking out.
unbelievable deadlines It's a quick connect, like-- Fuck! Yeah, well, it's not working.
This is harder than I thought.
and the most heart-stopping challenges in Face Off history.
Oh, my God.
Get the fuck out.
Along the way, they'll come face to face with legends.
What? 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 Beetlejuice, The Hunger Games Catching Fire, and The Amazing Spiderman This is an immaculate makeup.
Glenn Hetrick, cutting-edge makeup artist on CSI NY, The Hunger Games Catching Fire, and custom designer for Lady Gaga I dig it a lot.
And Neville Page, creature and concept designer on Avatar, Prometheus, and Star Trek Into Darkness.
That's fantastic.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their 85 international locations, a 2013 Fiat 500C, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
Face Off is back, but the game has changed.
I invited our new contestants to a masquerade ball here at the Park Plaza to tell them about this season's big twist.
Whoo! I am Adolfo.
I was born and raised in Puerto Rico.
I like to make everything look glamorous and shiny and sparkly.
I've been working my ass off to be here, and I just want to win this.
My name is Rick, and I'm 38 years old.
I'm self-taught.
After high school, I've been making a living doing effects.
I'm in this competition to prove I have earned my place in this field.
Rick.
Nice to meet you.
Nice to meet you.
My name's Sam.
I attended the Tom Savini School, where I graduated in 2012.
I'd say a few of my strong points are sculpting, mold making, and I've got a lot of heart.
So don't count me out.
- Hi.
- Hey, what's up? Sam.
Mwah! Adolfo.
My name is Steve Tolin.
I go by Tolin.
I own and operate a specialized design and fabrication shop.
I live in Pittsburgh with my wife and my two beautiful girls.
Winning Face Off could really set me and my family up in a way that I would never be able to do on my own.
- Adolfo.
- Eddie.
- Eddie.
- Nice to meet you.
I'm currently a student at Savannah College of Art and Design, studying CG and visual effects.
My strengths right now are my concept development and design, and I think I have a great shot at winning.
My name is Laney, and I moved to LA about four years ago.
Right now, I'm just working in this tiny little cubicle in my garage, making messes.
For me, winning Face Off could open a door for me to start getting the jobs that I really need.
- Hey.
- Hey, I'm Rick.
Hi, Rick.
Scott.
My name is Scott, and I started Scream Team back in 1996.
And I sell prosthetics all over the world.
Champagne for Scott.
WinningFace Off would be a dream because customers of mine would finally put a face with my business.
- Hi.
- Hey, how are you? I'm Lyma.
I'm originally from Mexico.
Merci.
I practiced as a dentist.
Then I started doing teeth for Halloween, vampires.
Then, eventually, I became a makeup artist.
I have a one-year-old daughter, and she's my whole life.
So I would like to win this for her.
- Here we go.
- Uh-oh.
Hello.
Here comes McKenzie.
Oh, my gosh.
- Whoo! - Hey, guys.
- Hello.
- Welcome to Face Off.
- Thank you.
- Thank you.
I'm stunned.
She looks even prettier in person, and this is Face Off.
It's about to begin.
This is the legendary Park Plaza hotel.
Through the years, it's served as a filming location for popular movies and been a hot spot for Hollywood's elite.
Now, I'm sure you've noticed that there are only eight of you here.
Well, let's meet the rest of the cast.
Guys, come on out.
- Oh, yeah.
- No way.
The other cast members are people that have been on Face Off.
I am so scared.
That's right.
This season, we've got veterans versus newcomers.
Ohh.
That's great.
We have RJ, Tate, Miranda, Frank, Laura, Alana Ooh, girl.
Eric, and Roy.
Well, why don't you go stand now with your fellow competitors? - Oh.
- Hello.
- Hi.
- Welcome.
The old-timers walk in, and I'm actually not too nervous.
I'm confident in my abilities, and I think I'm gonna be the next Face Off champion.
Now, you all know that professional movie makeup artists create unforgettable characters through their collaboration with other creative departments.
But nowhere is this more true than with the symbiotic union of makeup and wardrobe.
And I have a few special guests here with me tonight who are perfect examples of the extraordinary way that costumes can completely transform a character.
They are the stars of SyFy's new series Heroes of Cosplay, which premieres tonight after Face Off.
Thank you so much for being here.
Thank you for having us.
So, Yaya, you obviously know what it takes to make a head-to-toe finished look, but how important is makeup to you? Makeup is an intricate part of costuming because, in the end, it is about the face.
If the makeup is well done, it can transform a costume into a character.
That's a great way to put it.
Thank you for being here.
Thank you.
So for your first foundation challenge, you'll be creating an original character inspired by one of these costumed partygoers.
Now, this is your chance to show off who you are as an artist.
Today's winner will receive immunity and cannot be eliminated this week.
Winning immunity straight out of the gate, that would be a big stress relief.
Before you make your selections, we gotta have a judge.
She's a screenwriter, a producer, and the director of Red Riding Hood, Lords of Dogtown, and Thirteen.
She's also the most commercially successful female director of all time, with the epic vampire film Twilight.
Please welcome Catherine Hardwicke.
Oh, my God.
Catherine, thank you so much for being here.
Thank you for having me.
It's super exciting.
Catherine Hardwicke is such a great screenwriter and director, so I am blown away.
Your films have featured some incredibly iconic characters.
How important is that union of makeup and wardrobe? For me, it's important because that's what helps an actor really understand who they're gonna be, and that helps them launch right into the film.
So I'm just interested to see what you guys are gonna do.
All right, now, you'll have only your kits and a few tables of supplies to work with.
And you've got two hours to complete your makeups.
Good luck, guys, because your time starts now.
Ooh, girl.
Taking you.
I would like you, please.
- Cool.
- You and me.
I'm Rick.
How you doing? Have a seat.
Have you ever had a prosthetic on before? - Yeah.
- My name is Eric.
Out of all the veterans coming back this season, I'm the only contestant from season four.
I earned my way back by winning the web series Face Off Redemption.
It's a chance not everybody gets to come back and do this again, and this time, I am a stronger artist.
I know what I want, and I'm 100% sure that I know how to get there.
I'm thankful to come back and show what I've learned over the year.
My name's Alana Rose, and I was on Face Off season three.
When I got eliminated, I walked out of that stage, and I looked around, and I just thought, "This isn't over.
" I never want to lose again.
I want to be the winner of Face Off.
My character is gonna represent a strong warrior who's kicking ass and taking names.
I picked his wardrobe because he's jungle-oriented and he had a lot of skin exposed.
He also has this big cowl piece that drapes across the back.
So I'm going with a tribal hunter paint scheme, out for the hunt.
He'll look pretty old and pretty scraggly, I hope.
I'm RJ, and I was a finalist on season two of Face Off.
To get that far and not win was a little heartbreaking.
Last time, I was doing it for my dad.
This time, I'm doing it for my mom.
If I can win, then I can help her retire.
I picked this soldier, so I'm making him this old, crusty general.
I chose to go with a matador character.
I'm turning him into the bull that he's been fighting.
I'm Tate.
I'm from season one, finalist.
It was tough not winning, but since I was on the show, I've learned a ridiculous amount, and I think I can actually make a run at that title.
I chose this model because she had this amazing locket that gave me an idea about her character.
I'm doing a princess who was stolen from her wedding by a sorcerer.
The sorcerer then put a curse on her and took her heart out and replaced it with this poison locket.
My name is Roy.
I was on season three of Face Off, and I made it almost to the finale.
I'm really excited for this chance to come back 'cause I get to make some really cool stuff again.
And I still got a few tricks up my sleeve.
My model has this uniform on that looks like it's a caricature.
So I'm going to accentuate his face and then paint this same kind of pattern into it so it looks like he stepped out of a comic book.
Guys, you have one hour left.
This character is a phantom of the opera-like thing.
He was involved in this very bad accident, which caused his face to be all gruesome.
I'm Miranda, and I was on season two ofFace Off.
I was really lacking mainly in self-confidence the first time around, but I know that I am a good artist, and I came back to show what I felt I was capable of.
I picked a matador from some different time.
So I decided to do a matador from another planet.
I'm doing a version of a very old and dead Cleopatra.
My name is Frank.
I was on season one.
And I was eliminated too soon.
My character's a sorceress.
She's at a big party, and she sees a guy that she likes making out with another girl.
So as the rage builds, all the heat's forming into her hand, and she's gonna shoot a fireball at him.
Pow! My dad was a big influence for my career, and he was-- he was a big cheerleader.
When I watched how much of an ass I made of myself on the first season, I know I let him down.
My dad passed away almost a year ago.
So when this opportunity came back up, I said, "I have to do it for dad.
" I hope I can stick around long enough this time.
My name is Laura.
I was a finalist on season three.
Since Face Off, I feel like I've grown by leaps and bounds.
The character sort of looks like a queen, so I thought I'd make her like a demon queen of some sort.
I am definitely not here to play it safe.
I am here to show new things, but also some old things with a new twist.
That is time.
Brushes down.
So time's up, I look at my character, and I'm really happy with what I've put together.
Tell us about your creation today.
She had this amazing locket, and that gave me the idea of evil sorcerer was in love with her, and he took her heart and replaced it with a poison locket.
Yes, and I like the hair.
I like what you did with the hair, and I like the brows.
They're just so haunting.
- Mm-hmm.
- Very interesting.
That's great.
My model had on-- has on this costume that looks like a caricature.
- Uh-huh.
- And so I thought, let's have him become like a living caricature, like he's just been pulled out of the pages.
I love it.
It's kind of commedia dell'arte.
I think it's great how you really carried it through.
Thank you very much.
Well, she had a costume on that reminded me very much of royalty, but since it was so tattered, I was like, well, maybe she's from a demon underworld.
I think you made a great choice doing so much airbrush work because it looks quite finished and polished and quite beautiful, and the colors are stunning.
I found this Egyptian outfit, and then I applied the forehead and the nose.
I think it brings everything together.
I like your choice to make her very creepy and old.
I was wondering if you had thought of trying to carry that through to her hands.
That might have been nice 'cause you've made so many sculptural shapes.
This is a hindu royal bride.
It's very simple and very elegant, and it really flows with the costume.
This is Princess Natala, and it is her birthday party tonight.
I always like to keep that girly feel to my makeups.
I love the concept.
I'm interested in the design of these ears coming out of this Marie Antoinette hairstyle.
I think that's a very cool idea, and I don't think I've seen that before.
This is my guy.
He's a tribal warrior.
I chose really bold stripes and natural colors and then a harsh black to really give it that pop.
I think it's interesting.
To me, it's a little simplistic, I would maybe even say.
- Okay.
- You know, I guess I, you know, wanted to just see it go further.
I can see what Ms.
Hardwicke is saying.
Uh, and it-- it's a little tough to hear that criticism.
I'm looking around, and there are some really good makeups in this room.
Some of these things are amazing.
That's a big realization for me that I really need to improve, 'cause this competition is gonna be really tough.
Catherine, these guys made quite a cast of characters today.
Who created your top looks? Everybody here did a great job, but I do think that the veterans kind of kicked some butt today.
One of my top looks was created by Tate.
He really did an overall complete look, top to bottom.
And I really liked Roy's character.
It just turned into a sketch and felt very immediate and fresh and really interesting.
And then, Laura, yours was exquisite.
The colors were just dreamy and gorgeous, and the whole character really came together.
Beautiful job.
All right, Catherine, who is the winner of today's challenge? The winner is Coming up - Is that gonna be okay? - I'm sweating bullets.
The whole piece could be ruined.
- Oh, God.
- Is that cracked? I'm running out of time, and I don't know what's gonna happen.
I'm truly impressed.
All right, Catherine, who is the winner of today's challenge? The winner is Tate.
Wow.
I loved your makeup because it was an overall powerful concept.
She was scary, the way she stared at us, and the eyes and the brow that you created-- It was beautiful.
I appreciate that.
Thank you very much.
Tate, congratulations.
As the winner of this foundation challenge, you have won immunity and cannot be eliminated.
Fantastic.
Winning this first foundation challenge-- it's awesome.
It puts me on the top of the pack, and that's where I hope I'm gonna stay.
All right, guys, it is time to check out your new digs and get some rest.
I have big things in store for you tomorrow.
See you soon.
- Bye.
- Thank you.
Bye-bye, thank you.
- Oh, my God.
- Where's Edward Scissorhands? - Oh, my God.
- Wow.
From the second I look at this house, I'm completely blown away.
I'm sorry.
I'm sorry.
The downstairs alone is amazing.
We haven't even seen our bedrooms yet.
Oh, wow.
- Yay! - Gentlemen.
Oh.
All eight of us new people are in one room.
Whoo! I haven't slept in a bunk bed for a long time.
What? You guys have, like, cool p-- Hey, look, it's my makeup.
We actually have photos of some of the works that the veterans did in our room.
It's a little mind teaser.
Face Off! - Ooh, it's foggy.
- Ooh.
How lovely.
The Academy Awards.
Yeah, it is the Oscar stage.
I walk into the Dolby Theatre.
This is a dream come true.
It's just a gorgeous theater.
You know, there's this billowing of fog all over the stage, and we're like, okay, something's gonna happen.
McKenzie actually rises out of the floor.
Wow, what an awesome entrance.
Hey, guys.
Why don't you come join me onstage? - Yes, please.
- Wow.
Awesome.
Welcome to the iconic Dolby Theatre, home of the Academy Awards.
I've brought you here today because, with any luck, this will be the beginning of your own path to Oscar gold.
For your first spotlight challenge, we're delving into the world of hyper-stylized fantasy films.
Now, we've seen some incredible creations in everything from The Chronicles Of Narnia, Pan's Labyrinth, even Avatar.
These Oscar-winning fantasy epics all evoke an emotional response with distinct and stunning visuals.
So with that in mind, your spotlight challenge is to create original fantasy characters that would live in their own hyper-stylized world.
I like this one.
Fantasy is right up my alley.
I'm very excited, and I'm ready to get to it.
This will also be a team challenge.
Veterans versus newcomers.
I'm very terrified of the vets, but I'm also excited to show them what we can do and to see what my team can do.
I don't know them at all.
But I think we're gonna rise to the occasion, and we're gonna give the vets a run for their money.
Okay, now, each team will create five original fantasy characters.
- Wow.
- Wow.
All right.
They are Ogre, Pixie, Faun, Troll, and Witch.
Holy cow.
Gonna be great.
Now, I've brought a special guest to give you some guidance today, an Academy Award-winning makeup artist who has made his name creating unforgettable looks in films like The Amazing Spiderman, Lemony Snicket's A Series Of Unfortunate Events, and Indiana Jones And The Kingdom Of The Crystal Skull.
Please give a warm welcome to Bill Corso.
Oh, my God! Bill Corso inspired me to do makeup, so it's extremely overwhelming for me.
I'm trying to hold back my tears.
Hi, Bill.
Thank you so much for being here today.
Oh, my pleasure.
My pleasure.
Oh, my God.
So what does it take to create an Oscar-worthy fantasy makeup? Collaboration is very important.
When you see Oscar-winning work, it's because everybody's been involved to raise the bar to the highest possible level.
How can they make sure that their characters all look like they belong together? It's very important that you find a cohesive quality, whether it be textural palettes, whether it be some sort of visual motif that carries through.
There's nothing worse in a movie than when characters feel like they belong in different movies.
That was some great advice.
Thank you so much for being here today.
- Oh, my pleasure.
- Thank you, Bill.
All right, why don't you guys go check out the lab and get started? Aah! Walking into the lab for the first time is absolutely amazing.
There is everything you could possibly think that you want to work with.
I've never been in a shop this big before.
- It's like Christmas! - I know.
I'm just so excited.
I just want to get my hands dirty.
Walking through the lab is really special for me.
It's like coming home.
Wigs and wigs and wigs and wigs.
One of the first things that we have to do is choose our models from the life casts.
Yeah, I think that we got exactly what we want.
And then it's time to start our designs.
Essentially, then, what we've got is Scott and Sam doing the witch.
Lyma's doing the pixie, Laney and Rick doing the faun, Adolfo doing the troll, and you guys are doing the ogre, okay? And, Adolfo and Lyma, you're comfortable having the character all to yourself, right? I'm a little nervous that me and Adolfo are the only newcomers working on a complete character by ourselves.
It's just a little overwhelming.
You've come up with a general concept, so we need to come up with, like, what our-- our-- our world is.
It is a big challenge to take eight artists who don't know one another, um, to create five characters who all feel like they're from the same world.
Here's what I would propose, is that all these characters are a member of, like, some kind of a council, and that there's something incorporated into their makeups, you know, like a tattoo-- How about a sacred stone embedded into the skin somehow, with light behind it? There you go.
I like that.
Our team concept is each character is gonna be a member of a high council of their species, and each one is gonna have a gemstone on their chest.
It brings them into a family.
- Perfect.
- Yeah.
Of the characters, the troll is the smallest.
- Is that correct? - That's the shortest guy.
I came up with the concept that the troll, he's gonna be living and working in the cave, and he collect the stones that goes in the chests of the characters.
The ogre is obviously the bigger guy.
I think we get big in the shoulders, under the costume, though, so we don't have to worry about edges.
Our concept for the ogre is kind of like a primate, and he's going to walk on these big, gnarly arms.
I was thinking it would be cool if the mouth was in the neck so that you can open and close the mouth - That would be really nice.
- with your head.
That would be great.
- You know.
- That would be great.
Both of you are designing the ogre.
I'm working on the troll.
There's a lot of powerhouse artists in this group, so right away, people are opening their sketchbooks.
They have ideas right off the bat.
I just had a great idea.
Make the witch without any eyes and have her eyes be in the eyes in all the other creatures.
Oh, that's amazing.
So basically, all of the creatures are the witch's minions.
- Yes.
- Yeah.
I love it.
That's awesome.
- Done.
Done.
- Nice.
I'll block out the cowl, just so that we can start playing with it.
Do you guys want to start blocking out - the hands and the feet? - Yeah, sure.
Okay, cool.
Well, let's go.
We've only got five hours today, so it's very important for us to bust out some sculpts real quick.
You want to do the foot, and I'll do the hand? Yeah.
RJ and Frank and I sort of spearhead the ogre character.
RJ and Frank have two different designs for the ogre, so we sort of integrate the two.
So he has this little kind of pinhead and then these big arms and big feet.
I got the-- the cowl formed.
I'm starting on the chest so I can make sure the muscles work together.
My cave trolls steal babies and swallow them whole.
And that culminates into these little placenta-like baby sacs.
You're an animal, Tate.
You're an animal.
That's what my wife tells me.
_ Laney and I decide that we're gonna go with a lot of pieces in order to pull this character off-- a face sculpt, ears, horns, chest piece, as well as hand appliances and feet.
So I immediately start with the face.
How big are the horns gonna be? starting at about a 2-inch diameter.
If we're going to start sculpting today, then we're all gonna need the stone today.
So I sculpt very quickly the gemstone that each one is gonna have on their chest.
So I'm gonna vacuform them now so you guys can incorporate them into the sculpts.
Awesome, okay.
Thank you, sweetheart.
I don't have time to mold five pieces.
So I'm gonna use the vacuform to create copies for each person to use in their makeups.
What do you think about the idea of making his hand really elongated? Yeah, that would be really cool.
For the ogre, I'm doing the head.
Eddie's gonna do the arm, and we're trying to bang these sculptures out as fast as we can.
I'm working on the faun.
A faun is a creature that is half goat, half human.
He is a woodland creature, so his horns look more like tree branches so he blends in, so kind of like camouflage.
It's difficult looking across the room at the veterans and the wall of clay going up.
They are going big right out of the gate.
Looking across, that's a lot of scale over there.
Everything's really big on that side.
I'm concerned maybe we're not going big enough, and that's-- that's a morale sapper.
This could be what sinks our ship.
It's day one of our fantasy creature challenge, and it's newcomers versus vets.
The vets are going big right out of the gate, and we are going for beautiful.
So we'll just have to see if the judges like the direction we're taking.
_ _ Sweet.
Jeez, how are you gonna mold that thing? Very carefully.
Roy's got this enormous, complicated sculpture.
Because of that, during the molding process, there's always a risk because there's more things that can go wrong.
Just gotta get the look right.
Yeah.
We both looked at this and said this could be either, like, rusted iron or-- - I was thinking wood or stone.
Well, it could be wood too.
We love it.
Anyway, we'll mold it for you.
So that gives you the time today to start working on the basic shape of your head.
- This one with water clay too.
- Yeah.
Lyma has got a piece ready to mold.
But she has a lot of pieces and is working by herself just like Adolfo.
So Scott and I are gonna be molding.
Once you are perfectly happy with your sculpture, then it's time to start making your mold.
We use a plaster-type product.
When that's fully cured, that's where you put your foam latex or your silicone or whatever that you want to make your prosthetic out of.
Hey, are they making a mold over there? Yeah.
They don't play around.
That's time, everybody! Let's go home! At the end of the first day, I'm really surprised 'cause the new guys, they've already got a couple molds completed and some pieces ready to mold for first thing in the morning.
It looks like they're in better shape than we are at the moment.
So I think us vets should be very worried.
Whoo! All right.
It's day two, and we've got ten hours in the lab.
We have to finish all of our sculptures today, we've got to get all of our molds made, and we've got to open them up.
We've got to clean all the clay out.
There's a lot of stuff that has to be done.
I'm just getting a basic shape.
Then I'm gonna start pulling it tight over the skin.
Sam and I have this concept that the witch is ancient.
Her clothes and her body are fusing together.
But we want to show both beauty and age, which is gonna be a heck of a challenge.
I think we're doing awesome.
I think we're a good team.
I'd say her eyebrows are gonna be popping out right there.
- You think? - Possibly, yeah.
Miranda and I are doing the pixie, and we want her to be sexy and creepy, have multiple sets of ears and plates sculpted into her head.
We need to make sure that this cowl is flawless, our face is flawless and molded today.
I got a lot to do, so I'm just gonna plow forward on this.
Eric and I are really tackling a lot of molds today.
My face, my cowl, Laura's cowl, and then whatever else people need help with.
Hey, guys.
We're here for our first walkthrough.
Hi, everybody.
Hey.
How are you? Mr.
Westmore is a very recognized makeup artist.
It's so wonderful to have him here, and I'm looking forward to hear what he has to say.
This is a pixie.
I'm working on having her face very humanoid.
Now, in-- in looking at your sculpture, I'm seeing all the little texture you're getting there.
I'm afraid you're gonna lose that.
I would dig a little deeper and be bold with it.
We're dealing in fantasy, not subtle fantasy.
- Okay.
- So you want to bring it out.
- Yeah.
- All right.
- Thank you.
- Good luck.
We are working on the faun character.
We decided not to go with texture 'cause we're gonna be doing fur transfer.
Now, important with the fur-- on your edges of it, if you can lay a little bit around the edge so it doesn't look like a glove - Mm-hmm.
- Or it doesn't look like - There's a blend to it.
- A shawl or something.
- Oh, yeah.
- Maybe trim it a little bit so it blends into the arm.
Doesn't look like a hair glove.
- Yeah.
- Yeah.
I'm working on the troll.
He lives in a cave.
He works in the cave.
He only goes out at night to meet with the other people.
It's awfully human back in here.
I think you ought to beef your neck up a little bit to give this-- the whole thing more power.
- Mm-hmm.
- All right.
- Yeah.
- Thank you so much.
- Looks nice.
- Mr.
Westmore is right.
So I'm gonna do the changes.
But this is hard for me because I'm almost done with the sculpture, so the little time that I have to mold is even less now.
We are collectively doing the witch, which is the high priestess of this entire council.
As far as the back of the neck goes, have you taken it down far enough that the costume-- We're probably gonna take it down a little more, yeah.
Yeah, make sure you get it below the costume line.
Yeah.
We're gonna extend the arms.
The actor's arms will come down to the elbows so that we can have, like, - kind of a gorilla stance.
- Yeah.
And the mouth opening that we created for the face is below the neck so that the actor is able to-- - Oh, I was gonna say-- - Oh, okay.
So it will be able to move.
I would be concerned with the mouth if you didn't do that.
As opposed to just hanging there-- - Absolutely.
- Yeah.
- All right.
- Good luck.
Thank you.
A real pleasure.
- I was given the witch.
- Okay.
And it's got a fusion of a lot of different elements.
What is your purpose with the back? Are these supposed to be fingers? Yes.
Spikes have been done many times.
Yeah.
Doing fingers is really different.
I think that would impress the judges tremendously.
The faun is actually a wood creature.
- Okay.
- So it hides in the woods.
And so, instead of doing, like, you know, antlers, I decided to do, like, like branches growing out.
Yep, instead of symmetrical horns.
You may have to put something down there to keep them from bouncing.
Ours is the pixie, and basically, she wanders through the woods when she's hunting for lost stragglers that she can take into her lair and devour their souls.
We want it to look almost like a mohawk.
If you're doing a mohawk, poking the dreads in might not be a bad idea, 'cause otherwise, you're gonna glue it on, you're gonna hate it, and then you're gonna be spending time - trying to work the edge out.
- Thank you.
- Good luck.
- Thank you.
- Thank you.
- Thank you.
Yay.
All right, guys, it's all looking great.
Good luck tomorrow.
Thank you, Westmore and Westmore.
Bye.
Oh, hey.
Good God.
Got it? We're all in the mold room at once.
It's just madness, sheer madness.
I'm climbing on top of the table.
I'm molding my piece, helping Adolfo.
I'm reaching over molds.
It's pretty intense.
Oh, my gosh.
_ _ I mean, that's pretty good.
- I would say get the-- - Yeah.
The flange more.
Laura has this back piece on her witch that has these fingers coming out of it.
Miranda gets the mold started, but she gets to the very edge of the fingers _ _ Our splash coat is hardening and cracking apart.
No, no, no, don't pull it off.
Is that gonna be okay? This is a very important piece.
It's very important to the aesthetic of the witch, and I don't want to let Laura down.
Do you want to fix this? Do you feel more comfortable doing that? Yeah.
I'm keeping a straight face, but inside, I'm stressing out.
It's cracking, and I'm sweating bullets.
I have to figure out how to fix this now, or else our whole piece could be ruined.
It's the second day of our fantasy character challenge.
Miranda's molding Laura's back piece for the witch, the most powerful being on this particular world.
_ And our hemp starts falling apart.
_ _ _ I just say screw it, it's now or never, and I take that whole piece of hemp, and I just lay it over the part that's cracking.
Here, we'll do this.
I'm scared it's gonna take away some of the detail, but it's not as bad as I thought it was gonna be, and I'm so happy that it's worked out, 'cause I was very scared.
Anytime you have a mold that has that size of a head with all these little smaller pieces going out, there's a chance of it breaking.
I'm gonna hope for the best, and I hope that it doesn't break when I open it.
Oh, my God.
Thank God.
It actually worked.
That's a miracle.
Roy's just awesome.
_ _ I'm getting a little nervous.
It's time crunch, and I'm pretty sure my mold is ready to be opened.
Oh, God.
My mold is just-- Is that cracked? This piece is cracked for sure.
I mean, this comes all the way down through here.
That's it.
It's done.
I don't want to go home.
I don't want to be, like, the one leaving the competition this soon.
But this is just going down.
Oh, God.
Yeah, I would-- I would not touch this and deal with this in the morning.
I have two options.
I need to either fix it or just not use it, and I don't want to sacrifice the look of the character just because the mold cracked.
So I decide to just reinforce it and just wait overnight to run the poly foam.
Here, can I see this thing on you, Eddie? I'm really excited about the way Eddie and I's casts came out.
I think that there's a really good chance of being in the top looks.
_ Yeah, it fits you great, man.
We certainly have one of the strongest pieces, and I think it's gonna really fit into this council.
- That's great.
- Yeah.
- What's time? - Five minutes! Whoop.
That's time, guys! - Whew.
- By now, I'm just thinking there's so many things that are going wrong, it's gonna take a lot of time from my application day.
It's just stressful.
It's just disappointing.
Application day, we have four hours to apply and one hour at last looks.
Wow, this is a disaster.
I look at my foam piece, and I notice the cowl edges are just all sorts of busted up.
So I start trying to patch it up, and it's definitely taking time out of painting, and that's making me a little anxious.
A lot anxious.
Hello, hello.
- Good to see you.
- You too.
It's really nice to meet you, darling.
- Nice to meet you too! - I want to hug you.
First thing I do is just run straight to the molding room and get my piece because I have to run in poly foam.
I'm running out of time, and I don't know what's gonna happen.
My crew, how's everybody feeling? Nobody's answering.
That looks terrible.
It does right now, but it won't when it's dried and it's painted, I promise you.
All right, I got this.
That looks awesome, man.
Application day is going great.
Eddie begins painting the arms, and we go for some very bold color choices.
If you could hold it up for a second, that'd be great.
- Here you go.
- Oh, that looks great.
- That's awesome.
- Ahh, okay.
Cool.
Keep your eyes closed for me.
This is-- might be a problem, though, how thin it is around her mouth.
It's crinkling.
Our face has a bubble, and there is going to be a gigantic edge on her lip if we don't do something about this now.
Let's just rip it.
_ _ I literally rip the mouth off.
It's a scary thing.
I've never done this to a prosthetic before.
You're gonna have to bevel it with scissors.
You're gonna have to re-smooth all that down.
I'm getting nervous.
She's like, "Fear not, my friend.
We have this.
" Two hours pass, and finally it's time to open the mold.
Come on, baby.
I'm very concerned because it's just stuck.
It's just not working.
So I'm looking around-- Hey, guys, can I have some help? Eddie and RJ come back and start helping out.
Damn.
There it goes.
We got it.
Awesome.
Cool.
How's it looking? It's all broken.
It's broken here and here, and it's all ripped.
Motherfucker.
I'm like, this is not happening to me.
I'm just gonna fix it as much as I can.
I should just airbrush it.
No, it's much faster this way.
I promise you.
You know, we have two completely different painting techniques.
He wants me to brush a lot of things that I'd be more comfortable airbrushing.
Why don't we get one of those big guns and just base her out like that? That's not even coverage.
So I just go in, and I follow his lead, and I'm just watching the time.
I'm thinking, we really need to bang this out.
What's that? - Pros-aide.
- For what? To cover the seal so the color goes on a little better.
That is not an issue right now.
Look at the rest of this.
I'm looking at it.
It's fine.
It's not even close to fine.
Oh, honey, please trust.
We still have to apply the crystal, the chest piece.
It's not looking good.
I feel like the clock is just against me right now.
Time is passing so fast, it's just ridiculous.
Ten minutes, gang.
Ten minutes left.
Make sure everyone's got their gemstones.
Make sure everyone has theirs.
I finally have my two pieces applied.
The edges are awful, and there's no paint on him.
That's time, everybody.
Let's go! I'm gonna have to, like, paint all of it on final looks, and it's just one hour.
Coming up It's a beautiful, solid job.
Something went horribly wrong with this character.
I find it hard to get behind any decision you made We get to last looks, and at last looks, that's it.
You get one hour, and that hour goes by like that.
Oh, those eyes.
This is such a big gap in between the eyes.
I need a brown that's not orange.
Use this.
Everybody else is dressed and half-painted, and our model is naked.
Where's the black? Maybe we put it in the other box, Alana.
Dude, I've checked all the boxes.
Just keep painting.
_ The crystal's not there.
Look hard, man.
That's vitally important.
Time's running out, and I can't find the stone.
You're killing me.
I have to let go and just continue the paint job.
We got 15 minutes.
- Ugh.
- Uh I'm trying to make this creature come to life, but I'm running out of time, and the creature's not looking good at all.
- Time! That's it, guys! - Whoo! There's no chance in hell that I'm winning this challenge.
I'm just praying that somebody's is worse than mine.
Welcome to theFace Off reveal stage.
Tonight, one of you will be eliminated.
Let me introduce you to our panel of judges.
First up, multi-talented makeup effects artist - Glenn Hetrick.
- Hey, guys, good to see you.
- Hello, Glenn.
- Hi, Glenn.
Our very own makeup legend Ms.
Ve Neill.
Welcome back for some of you, and hello, our newbies.
- Hi.
- Hi.
And creative powerhouse designer - Neville Page.
- Hello, everyone.
Hello, Neville.
Now, this week, we pitted the veterans against the newcomers.
And for your first spotlight challenge, each team was asked to create five original fantasy characters that all live in the same hyper-stylized world.
First up, the veterans' work.
The ogre runs out on stage, and I think he looks really cool.
There's obviously some more finessing that could've been done, but I think it's great.
I'm looking at my faun, and I like the profile.
I like the color.
I'm liking everything about this makeup.
My character looks so inhuman.
He's holding the baby, and it's something out of one of my nightmares.
It's perfect.
Our pixie looks amazing, considering an hour ago, she didn't look like anything.
So Alana and I are feeling really good.
My witch is acting very creepy, really embodying this evil character, so I'm excited to see what the judges have to say.
That is so cool.
We have all of these common elements.
Our characters look like they belong together on the same planet.
And now let's take a look at the newcomers' work.
I think he's a cool character.
I think ve especially is gonna respond to this whimsical, henson-esque character that we've made.
I think that she's really gonna get a kick out of him.
That faun is exactly what I want to see.
Beautiful, statuesque.
Laney and I carried our weight on the team.
With the little paint that he has, he looks like a pig, as opposed to a troll.
I just know I can do so much better than this.
I feel so guilty that my character is the only one without the stone.
But it's still a finished makeup that I like.
From the distance, the witch looks okay.
But I'm afraid that up close, they're gonna see the flaws.
I don't think we're gonna be in the bottom looks.
Now that I'm seeing our ogre with the rest of the group, I'm really worried it might not be cohesive enough.
Judges, why don't you take a closer look? Open your mouth.
Quickly, like you're trying to talk.
Yeah.
That's it, huh? _ _ - Great shape.
- Yeah, that's fantastic.
But the front view is just a big-nosed creature.
Can you open your mouth? This is a cool treatment, leaving this huge negative space.
It's really nice and precise in terms of the actual sculpt work that's going on.
_ Can you turn around, please? Oh, yeah, that's cool.
Fingers.
Close your eyes.
I can-- Oh, yeah.
There's so much space in there.
It's just really cool, the way the hair is brought down.
- Mm-hmm.
- I want to know if it's purposeful or not.
What do you think? - I hope it's purposeful - So do I.
- Because it looks really good.
- So do I.
Wrinkle your face, close your eyes, scrunch your brow.
Man, oh, man.
They're just looking and touching and squishing.
Uh-oh.
Somebody's going home tonight, and there's a big chance that it's me.
What do you think of tonight's designs? Tell us on Twitter using #FaceOff.
Man, oh, man.
They're just looking and touching and squishing.
I'm just hoping, please don't lift the shirt.
Please don't lift the shirt.
Uh-oh, massive leaking and cratering.
Oh, my God.
Thanks.
I think the breast covers are really good.
It looks like it's a morph between metal and something else.
That's classicAlien.
Can we see the other side? Looks like two different paint jobs.
- Okay.
- Thank you.
Okay, the judges have scored your creations and would like to speak with some of you to find out more about your work.
Alana and Miranda, you're up.
Could you begin by explaining the team concept to us? We have our witch character, who's the queen.
Our witch is blind, so the incorporation of the eyes in all the characters is, they're her eyes for her.
Our specific character is the pixie, so she wanders through these woods at night and Loiterers - Stragglers.
- Lost stragglers, like a moth to the flame.
It's really wonderfully done.
I'm truly impressed with the subtlety of the appliances-- They're not too thick-- and the multi-tiered ears.
I think that's a great design concept.
Thank you so much.
Who did what on your character? I sculpted the cowl.
Alana sculpted the face.
Alana did the awesome hair work while I worked on the headpiece with the paint job.
All in all, I think this makeup's really nice.
You got everything painted.
You have texture all over her body.
I think it's great.
She is cohesive in so many ways, from concept, execution, the palette.
It's a beautiful, solid job.
- Thank you so much.
- Thank you.
Ladies, thank you very much.
Please step back.
Thank you, lovely.
Good job, girls.
Good job.
Tolin and Eddie, you're next.
Tell me what your team's overall concept was.
All of these characters have come from different regions of the planet Telesis 5 to form a high council.
This illuminated crystal is a symbol of this high council.
Who was in charge of doing this particular character? I sculpted the head.
Eddie sculpted the hands.
And we both fought the uphill battle of trying to get those eye edges down.
His proportions are so off to me.
I think something went horribly wrong with this character.
His shoulders aren't big enough to carry that head and those arms.
He should have had much more girth across here to support all these other things that he has going on.
I think that, proportionally, when he's in a primate position, I feel like-- I don't know if that changes anything for you, but it-- it kind of does for me.
He just looks like a blob with a big head on top when he's down there like that.
I hate to hear that.
I find it so substandard on so many levels, sculpturally being the biggest one.
It does not have any finesse nor surfacing.
It's just a static rubber head.
Ouch.
How do you two think that came out? Not that bad.
I would've given us a 7 1/2.
That's what scares me.
Sculpturally, the fact that I can stick a finger in between the edge of that foam and his brow-- - Yeah, that was horrible.
- I find it hard to get behind any decision you made with this makeup at all.
- Gentlemen, please step back.
- Thanks, guys.
Thank you.
Frank, RJ, and Eric.
Specifically to this character, what's the concept about? He is the guardian for the witch.
I came up with the idea that it should be like a big, heavy thing with a knuckle-dragger, like a gorilla.
So who did what? Well, I sculpted the head and the face.
RJ sculpted the hands, and Eric sculpted the feet.
Always for me, the most important thing is the overall silhouette, the balance, the proportion of something.
Sadly, that's where this just screams, "disproportionate.
" It would seem to me that there would've been an opportunity to stop and say, legs and feet getting way too big, or head is too small.
That being said, I think independently there are some good moments.
It's just the proportion and the overall concept is just not very appealing nor interesting.
My initial reaction to this is that the whole body is missing.
It's hands and feet and head covered with a blanket.
The basic mistakes are what haunt me-- the static mouth, which every one of you has heard me complain about sometime.
I just expected more, is what it boils down to.
- Please step back.
- Thank you, guys.
Thank you, guys.
_ Rick and Laney, you're up.
Please explain to me who did what on your character and what your premise was.
We went with the disheveled woodland creature.
I did the sculpting on the face, the ears, and the horns, and she did the sculpting on the chest piece, the hands, and the feet.
And who did the painting on the face? - I did.
- Well, I gotta tell you, I really like this faun.
I'm a little concerned about the paint on the stomach.
That's the only thing that bothers me, 'cause it's kind of like there's no rhyme nor reason to it.
But I love the way it all comes together.
Everything looks great to me on this.
- Thank you.
- Whew.
Whose decision was it to pull the hair down across the face? That was mine.
We wanted her to have a smooth face, not much texture, so I could put hair on her.
Brilliant stroke because it really helps with the treatment of the nose, which I think is quite clever, because you've maintained not only the humanity, but also the feminine aspect of this character.
Well done.
Thank you so much.
All of you, thank you.
Rick and Laney, please step back.
Great, great job.
Adolfo, you're next.
So tell us about the concept of this guy specifically.
He works in a mine.
He's in charge of just collecting the stones.
I had a lot of problems with the cowl-- specifically, taking it out of the mold, my mold broke.
I-I get all that.
Because you only focused on the head, you have an opportunity to really showcase the sculpt, application, and the paint.
And none of those, especially the sculpt, work at all.
There's nothing about the facial anatomy that rings true of it being humanoid.
It's got all the features of human characteristics but no sense of prowess on your behalf to be able to execute that.
I agree.
My main issue with this is not only the sculpture, but you didn't even put a good paint job on it.
You can take a crappy appliance and turn it into something halfway decent if you put a really good paint job on it.
I want to applaud your willingness to go it on your own when you're in a competition against people that have been here before.
So I think that's worthy of note.
- Thank you.
- Adolfo, please step back.
Laura, please step forward.
Hey, girl.
Start by giving us an explanation of the character and its story, please.
My concept going in was that she's gathering her strength from people that she ate.
The people that she was consuming were trying to get out, and these things are actually fingers coming out from the back.
I dig it a lot.
Thank you.
Thank you.
You are presenting something that's completely fresh.
It's not what I've seen from you before.
And that is testament to the depth of your design capabilities.
I think the design is really interesting.
I am, however, really disappointed in your paint job on your face.
This is so beautifully painted, and if that would have just been traveled right up onto the face, it would have been really exquisite.
- I totally, totally agree.
- But, I mean, the costuming, everything else is just beautiful.
Thank you.
- Laura, please step back.
- Thank you.
All right, thank you, guys.
Please head backstage so the judges can make their decisions.
Thank you.
- Thank you, guys.
- Thank you, guys.
All right, judges, why don't we start with Alana and Miranda? It focused on the face.
Nothing was a distraction.
The treatment of the ears and the jaw line is absolutely gorgeous.
Miranda's got incredible precision to her sculpting.
That cowl piece was quite impressive.
All right, let's move on to Rick and Laney.
What are your thoughts? I love that makeup.
The fur coming down onto the face and then that shattered pixie hair-- I thought it was fabulous.
And what a success.
They're competing immediately against people that have been here before.
- Yeah.
- Let's move on to Laura.
Well, as usual, she did a really amazing design.
She let herself go technically a little bit in order to present this massive amount of work.
What she was doing with those horns and that transition down into the forehead was beautiful.
Okay, let's move on to Tolin and Eddie.
It looked like a papier-mache sculpt.
Regardless of who did the actual sculpting, just the concept was so substandard.
And Tolin couldn't see that there was something wrong with it.
I'm bewildered by the fact that he does not readily acknowledge that things went wrong for him this week.
Okay, let's move on to Frank, RJ, and Eric.
I didn't understand why they couldn't see at the onset this huge disparity with proportion.
Or why the torso was covered in a tarp with a rope tied around it.
I was disappointed.
All right, let's talk about Adolfo.
There was a lot of things he could have done to really beef up that makeup.
If you have a problem, figure out a way to cover it up.
He's very inexperienced, but I think he really wants to be better - Sure.
- than what he did this week.
But the point still doesn't change.
That was a substandard sculpt with no character.
- Yeah.
- All right, then.
Have you made your decisions? - Yes.
- Yeah.
Okay, let's bring them back out.
So, Glenn, which team came out on top? The veterans or the newcomers? The top team tonight is So, Glenn, which team came out on top? The veterans or the newcomers? The top team tonight is the veterans.
Yeah, buddy.
Congratulations, guys.
Not only did you guys have a really great grouping of characters tonight, but it really seemed like they belonged together.
Congratulations.
- Thank you.
- Thank you.
Okay, who is the winner of this challenge? The winner of tonight's challenge is Miranda.
- Hey, girl.
- Yeah! Whoo! The pixie was a great character, but our favorite part was the cowl sculpture and the paint job.
Well done.
Thank you so much, you guys.
Just so exciting to come right out and win the very first challenge.
It's gonna give me confidence and a motivation that I never had before.
Congratulations.
You and the rest of the veterans can head backstage.
- Thank you, guys.
- Whoo, Miranda! I can't believe that! Unfortunately, that means, newcomers, you are the losing team this week.
Rick, Laney, Lyma, Scott, Sam, you are all safe and can head backstage.
That means the rest of you are on the bottom this week, and one of you will be eliminated.
Please step forward.
So Glenn, tell us about the bottom artists.
Eddie and Tolin, your character's proportions were way off, and he didn't feel like he fit in with the rest of the group.
Adolfo, we had a hard time identifying any anatomy in your sculpture, and your paint job just didn't have any life to it.
So who is going home tonight? The person going home tonight is Tolin.
What we found disturbing was the lack of precision and form in your head sculpt.
Well, thank you for the opportunity, guys.
It's been insane.
Tolin, I'm sorry, but you have been eliminated.
The rest of you are safe and can head backstage.
Well, Tolin, I'm sorry we won't get to see any more of your work, and we wish you the best in your career.
Thanks, guys.
Tolin, it's been great having you here with us.
Will you please head backstage and pack up your kit? Thanks, McKenzie.
Getting eliminated first sucks.
This guy.
I felt like I was in a good position to take it all the way.
You guys are awesome, and I hope I get to see everyone again.
I feel badly I wasn't able to show a greater breadth of work, but this is the field that I was meant to be in.
I don't have any doubts about my ability as an artist.
I think I did the best work that I was capable of, and that's all that anybody can ask.