Face Off (2011) s05e02 Episode Script

Previously onFace Off Eight talented new artists challenged eight returning veterans in an outrageous fantasy challenge.
Miranda's pretty pixie brought her to victory Yeah! and newcomer Tolin was sent home.
Now 15 artists remain, and tonight, they'll tackle a pair of classic characters.
This week's spotlight challenge is inspired by the most influential movie monster of them all.
Yeah, buddy! Hell, yes, I want to win this.
That would be so incredible.
But for some, the pressure will be too much.
- Whoa! - No, no, no, no.
This problem, I really don't have time to solve.
Not like that.
Let's stop that, please.
- We're screwed.
- I know what I'm doing! I'm getting a little frustrated.
Really great decision-making.
It looks very blown on.
How could I forget something so crucial to the makeup? In the end, one will win a VIP trip from Kryolan Professional Make-Up to one of their a 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
So, it's the morning after the first spotlight challenge.
Being on bottom looks was very hard for me and Adolfo.
Good morning.
- How are we? - Good, man.
I mean, it's just disappointing that I couldn't, like, present something better the first time.
We'll just have to put that behind us, and I mean-- But now we're more acclimated to what being onstage in front of those judges is like, so-- You both have so much potential here, so just don't let this one thing bring either of you down.
Thank you.
Thank you so much.
- Cheers for a new day.
- Yeah, seriously.
So, it's the morning of the next challenge, and we arrive at Universal Studios.
I'm psyched.
I've never been before.
We walk up, and we're next to the House Of Horrors.
I can't wait to see what our challenge is gonna be.
Welcome to the House Of Horrors at Universal Studios, Hollywood.
So, we're here to talk about your next spotlight challenge, which is tied to the Halloween Horror Nights, the scariest, most intense and amazing Halloween event in the country, starting September 20th.
- That's so rad.
- All right.
The Universal Studios introduced the horror genre and movie monsters with some truly iconic films, so this week's spotlight challenge is inspired by probably the most influential of them all Frankenstein.
Yes! Awesome.
I grew up watching horror and sci-fi movies with my dad, and Frankenstein was my favorite.
Mary Shelley'sFrankenstein was created in 1818 as the result of a science experiment gone awry.
Since then, the monster has come to life in over 50 films, including Young Frankenstein, Monster Squad, and the upcoming I, Frankenstein, which follows the creature to the present day.
Your spotlight challenge is to create your own future Frankenstein Wow! and his bride, complete with backstory.
- Oh, wow! - Wow.
You will be working in teams of three this week.
Your randomly assigned teams are Alana, Laney, and Laura.
- Oh.
- Yeah, ladies, let's get it! - All right.
- Eddie, Miranda, and Sam.
I'm immediately a little bit nervous, because both of them are new contestants, and I just hope that's not gonna be a problem.
Scott, Adolfo, and Roy.
- We got this.
- Let's do it.
- Frank, Eric, and Rick.
- Right on.
RJ, Lyma, and Tate.
Whoo! Stand with your teammates.
Dude.
Now, I brought a special guest today to give you some advice.
He's the writer and creator of the Underworld franchise, as well as the writer and producer of the upcoming film I, Frankenstein.
Please welcome Kevin Grevioux.
How you doing, McKenzie? Good! Thank you so much for being here.
- Nice to see you.
- I'm super excited.
I'm trying to follow in his footsteps as a filmmaker, so to have him here, that's a real honor.
Kevin will be joining us here onstage this week to take a look at your final creations.
Now, how can these artists make sure that their characters truly impress you? Mary Shelley created the character back in the early 1800s.
Using the technology of that day, you guys are gonna pick a point in the future and create something unique, without losing the aspect that this is still supposed to be a monster.
Now there's just one big piece of information that I left out.
Oh, crap.
The top team's characters will be featured in this year's Halloween Horror Nights event at Universal Studios, Hollywood, and Universal Orlando Resort.
Oh, my God! That is such an honor, guys.
We got to get this one.
That's cool.
Oh, hell, yes, I want to win this.
And to have those characters running around the park? That would be so incredible.
I really want to get you in the right mindset while you're working on your designs, so I'm gonna send you into the House Of Horrors to sketch.
- Yes.
- Oh, cool.
And I will see you all tomorrow.
That's if you can get out of there alive.
Get in the house! The Frankenstein lab looks like it's right out of the movie.
Oh, my God.
There's a huge capacitor thing - Oh, this is great.
- and it's so inspirational for what we're getting ready to do.
I like the idea of coming from 2040 kind of time frame.
Yeah.
Yeah, yeah.
What about putting a nuclear reactor kind of thing, like, in the middle of their chest? That, or you can put it on their backs.
Our backstory is, Frankenstein and his bride perished in a crash.
The only parts that are left of them are their hands, which bind the lovers together, and are needed genetically to bring them back to life.
Could be, like, - 300 is good.
Our story is that Frankenstein is from the past.
A bolt of lightning brings him to life, and in the future, he builds his bride, and she is now going to be his source of energy.
Maybe he should have her heart in a jar.
Ooh, there could be, like, a tube where the heart is kind of floating in the liquid.
This doctor secretly is trying to take over this futuristic world.
I'm kind of-- I don't know.
I'm iffy on this idea.
Do you have another idea? Maybe if they use, like, some sort of nanotechnology that went wrong.
I don't quite know what you mean.
We're already having so many problems just moving forward as a team, and it makes me very nervous.
I do like the idea of it being futuristic enough that there's alien parts in the data.
Or it could be a lab.
They could have this lab in the future.
Yeah, yeah.
Frankenstein has to have energy to keep him alive, right? Right.
What if the radiation from the atomic explosion is what keeps him going? So our concept is, Frankenstein and his bride, they're part of a genetic military experiment.
The problem is, before they finished the prototyping process, the bomb drops.
That same fallout activates something in the creatures, and they awaken, and they have no idea what their purpose is.
Him and his bride are two of the only things left on Earth.
That could work.
All right, everybody, gather your stuff! Let's head back to the lab! All right, let's do it, guys.
So, we get to the lab, and we have five hours today.
First, we pick our models, but my team left Universal Studios without a concept, so we've still got to decide on one before we touch anything.
We have a scientist and his wife, okay? All right, she dies, he freezes her, then works to get the technology advanced enough to bring her back out of cryo.
Okay.
Our Frankenstein monster is only about but then the bride of Frankenstein is actually going to be, like, So if they look different, there's a reason for them to look different.
If you want to tackle the female face, I'd like to tackle his face, and if you want to work on his chest piece and on her chest piece.
So, you're starting on the face of her.
I'll start on the cowl.
You're starting on her chest? Okay.
Laura is really focused on Frankie, and I'm like, "Girl, run with it.
" We still don't really have a design for the characters, and I'm a little nervous because it's become evident that I'm going to have to take a leadership role.
Instead of, like, doing full heads, they could be wearing some sort of, like, mask.
I come up with this idea set 50 years in the future.
This couple that's extremely in love want to be together forever, and they go to this doctor to become immortal.
This doctor is actually an evil mastermind who is plotting to take over the world with them.
So what exactly-- What are we-- What is this? I have mixed feelings on our concept.
I don't fully grasp the entire thing, so I just take the backseat.
I let Miranda run with her idea and try my best to be a team player.
Do you want to do one of the cowls, I'll do one of the cowls? - Yeah.
- Then I can start on the faces? That sounds good.
In this particular challenge, I will be sculpting the face of the Frankenstein creature and the cowl, Frank is gonna be sculpting the face of the bride, and Rick is creating the technology to bring them to life.
You're the mad scientist of the bunch, eh? As a team, I think we're working great together.
I'm sculpting Frankenstein's cowl, Lyma's sculpting the cowl for the bride, and RJ is rocking the hell out of our Frankenstein face.
- Gorgeous.
- We have, like, 41 minutes.
That's time, guys! Let's bounce! It's the end of day one, and our team didn't finish their sculptures.
Good-bye, lab.
See you tomorrow.
I'm feeling a little nervous, but I know we're gonna pull through, I really do.
Get it, guys! So, it's day two, we walk in, we have ten hours in the lab.
We have to mold all of our sculptures and run them in foam latex.
When you do a sculpture, the next step is mold making.
One big batch of stone is mixed.
You want to get full coverage of stone all over the piece, and then it takes time to set, and when you release it, you can put material into it to keep replicating that same sculpture.
As the day's going, I'm helping on Laura's mold, just trying to be super careful, because you could spend all this time making a beautiful sculpture, and if your mold cracks, then you have no way of redeeming it unless you start from scratch.
And I'm a little worried because I am struggling super hardcore, trying to get this thing open, and as I'm doing this Whoa! I realize it's starting to crack.
What? If Laura sees this and how bad it is, she's gonna freak out.
Coming up I think that's a little dark, Lyma.
Trust me.
- Stop that, please.
- Okay.
Lyma's not painting realistically.
I'm trying to keep it together and not explode.
I like your character.
The design doesn't make any sense.
It's the second day of our Frankenstein challenge.
I'm helping on Laura's mold, just trying to be super careful, and as I'm doing this - Whoa! - What? I realize it's starting to crack.
I'm trying not to be too panicky about it, but it's definitely a huge crack.
As soon as I finish cleaning out the clay, I'm going to try to take some epoxy putty and mend the crack.
Then, when the foam comes out, I might have to trim a little bit extra around the chest area.
That might work.
I don't know.
I don't know if I can do it, but we'll see what happens.
- Hey, guys! - Hey! We're here to do a walk-through.
It's absolutely incredible to have Academy Award-winning artist Mr.
Westmore in the lab.
How could you not listen to someone of that caliber's advice? All right, so what is your concept? We went into the not-too-distant future, but after everything had gone awry.
The only actual part that remained were the lovers' hands, and from the DNA, they've been able to reconstruct them.
This is the cowl sculpt for the creature.
We're going with an exposed brain, so we have a vacu-formed plate that we're gonna put over the brain.
You know, it might be interesting to maybe airbrush a little fog inside of it so it looks like there's moisture and there's heat.
Our characters are a couple that is so in love, they go to this doctor to be immortalized, but he's trying to take over the world by creating an army of these people who have come to him to become immortal.
Sam and I sculpted these cowl pieces, which are gonna be part of the costume.
That's for the male character.
We're gonna paint both faces, flesh-tone mixed with a little bit of a green hint.
Could wind up with a muddy color.
You might be better doing your flesh tone in either a wash or airbrushing with a green.
This is really an interesting sculpture.
What about your coloring? We want to patch different types of skin, like it was different types of people.
You know, with the Borg, I had a character that was made up of different alien species.
- The patches were very distinct.
- Oh, cool.
That's what you're gonna have to do here, if you're gonna make a patchwork out of it.
All right, so let's start with your Frank character.
Okay.
He's got a battery pack that he has to constantly recharge, so she's gonna be able to charge his batteries by holding his hand.
- When they touch, they glow.
- Right.
But we wanted to know how you think we should cover it or if you think that's cool.
Yeah, I think it's cool.
This just gives it more of a mechanical look by having that exposed and like it's embedded into the skin.
I think it looks great.
Tell us about your concept.
Boy finds girl, boy loses girl, boy reanimates girl.
This is our body for our Frankenstein.
You can see his understructure.
It has pistons in it to operate his head movements.
What about top of the head? - What are you doing up here? - Probably an exposed brain.
You do realize, though, a lot of people are doing exposed brains.
I know, and that's why I may not even do that.
We may decide to sculpt just, like, a skull cap.
- Exactly.
- Yeah, yeah.
You might give the skull a different shape, maybe some scars in it or something, where the head was opened and operated on.
- Right, right.
- But it's basically-- Seams in the bone type of thing.
- Exactly.
- Yeah.
So, Mr.
Westmore really likes our design, and that justifies my feeling that we're on the right track.
All right, guys, it's looking amazing.
- Good luck.
- Thanks, McKenzie.
- Thank you.
- Bye.
I'm happy with that.
In our concept, Frankenstein relies completely on the bride to charge his batteries, and the bride uses an umbrella to get energy from the clouds and weather and the atmosphere.
One of the ideas that Alana has is that, in the future, human parts are fashion accessories, so she wants the bride's umbrella to have the handle of a human hand.
Luckily for us, Tate is able to help.
Never done it with third degree.
This may or may not work.
And we cast up his hand using third degree, which is a silicone material.
Just press paper towels into it to hold the form, and then come around with the plaster bandage.
I don't really have time for this, but I would love help from her at some point, and I will call that card in.
After we cut it off his arm Thank you! I pour a rigid material inside the soft silicone mold and get a rigid hand impression.
Here you go, Tate.
That came out dope, dude, and you can see my fucking arm hair in it.
- Holy crap! - I know, I know.
How are you using this? It looks perfect, just the way I thought it would look.
- Look how cool that is! - That's amazing.
Come on now, give me a hand! You just want this all done.
Miranda brings us her Frankenstein face, and we go ahead and mold that while she continues working on the bride's face.
After it's set, we open Miranda's mold, and the nose to the life cast is stuck inside the mold.
- Ooh.
- That's not good.
- Fuck.
- Oh, my God! - The nose-- - The nose broke off.
The second I see the nose, panic sets in for me, because what we could end up with is an extremely thick edge in the most important area of our makeup.
Can you get it out? Like, is that gonna be okay? This problem I really don't have time to solve right now, because I still have an entire female face that needs to get sculpted, and if I don't get that out in time Ugh! I'm screwed.
Oh, my God! - The nose-- - The nose broke off.
- I could take a dremel to it.
- No, no, no, no, no, no, no.
I'm gonna talk to Frank.
I immediately think to just go find Frank, 'cause Frank, he's great at molds.
_ _ This is a lot of work for me, and I'm gonna continue on the bride, 'cause otherwise, we will not have a bride.
Does it blend underneath the nose? I think it's around-- right around where it broke off.
It's really hard not to get nervous in a time like this.
This makeup was collaborative, and a part of me feels responsible, so I really need to find a way to fix this.
Do you think taking a dremel to it would do anything? No, it doesn't solve anything.
The thing that makes it hard is that even if they get it out, chances are, it's not gonna be in one piece.
- Sorry, guys.
- It's cool.
It could be okay, but it's a gamble.
There you go.
I really need to make the wig.
It's gonna be pretty hard to construct, because I want to have all these glowing lights on it.
I want it to look a lot like Laura's sketch that she did.
I'm thinking of adding more of them, like one, two, three, and then two going down the back.
Do it, yeah.
The more, the merrier, right? It's just gonna be a really long process, and I'm starting to think maybe I didn't give myself enough time, but I got to get it out.
I feel like Dr.
Frankenstein in this lab.
I'm having to go scavenge for parts and pieces that I can use, just like our character would in our story.
The backpack that I'm fabricating will be used as their life force, and the guys are saying, "Run with that.
" They're pretty badass.
Is this EL wire all through this? Yeah.
To make it look like they glow? Yeah.
EL wire is electroluminescent wire.
It's basically a portable neon.
I thread it in between the coils, where it actually looks like it's a heating element.
- Eddie? - Yeah? You're being really careful with that, though, right? Yeah, yeah.
It's a perfect fit, and we're gonna cut the nostrils out anyways.
The nose of the life cast was only a minor setback because I ended up putting some epoxy putty on the nose to get it back to the cast, and that works.
Hey, Roy.
Okay.
By the end of day two, I'm just-- I'm kind of indifferent.
I don't really feel like I'm pushing the envelope, I don't really feel like I'm putting in any creative input.
Time! Time's up, everybody! It really sucks, 'cause this is not what I'm here to do.
Time to rock and roll.
It's application day.
We only get four hours to work in the lab.
That means apply, build, and finish everything, and then we have one hour of last looks at the stage.
Check out how thin this is.
The foam came out perfectly.
Holy crap! That's nice, man.
Now it's just a matter of doing an amazing paint job.
- Hi, nice to meet you.
- Nice to meet you, too.
Man, we got some great stuff for you today, dude.
You're going for this kind of big S&M look.
So this is my cowl.
Because I didn't have enough time, my mold wasn't prepared properly, so my cowl does not come out right.
It's in a million pieces.
Grab one of the cowls, pull it over your understructure, right? That way you can put this on it, and you can glue it down to the understructure.
It'll hold it together.
I'm a little concerned, but the good thing is, it's Frankenstein.
They have stitches.
It's all skin pulled together anyway.
I have to make it seem like it was meant to be that way.
Application day is crazy.
There's just-- there's so much to do in so little time.
At this point, we just have kind of a base color on these faces, so I'm scrambling, painting like a madman, just trying to stay optimistic that we're gonna be able to bring our character together.
- You don't want that on him? - Not like that.
- Let's stop that, please.
- Okay.
I mean, I love you, girl, but I think we got different philosophies about paint.
Lyma is painting these very wide, airbrush-y lines, and this is not how you paint realistically.
Yeah, you got it.
I'm looking over and I'm seeing things that I would do different.
I think that's a little dark, Lyma.
- No! Trust me.
- My eyes work.
It's dark.
It's black.
I mainly do body painting, but Tate expects realism, which I am not used to doing.
We're screwed.
We're trying to work as fast as possible.
I'm trying to work on her back, Scott is trying to work on her face.
It's hard to work on the same model at the same time, so I'm getting a little frustrated.
We don't have time to do all this.
We can do this then.
I'm sorry.
No, no "Sorry," I'm just about-- - I understand.
- I know what I'm doing! I can't work on the face while he's doing the back, and I guess my tone is snarky, 'cause he gets pretty pissed.
I'm just trying to keep it together.
- How long do we have? - Six minutes, guys.
That's time, guys! Let's go! If Adolfo and I can't get it together, I'm highly concerned that we could be going home.
Coming up How could I forget something so crucial to the makeup? Really great decision-making.
I like your characters.
You missed an opportunity to be much more creative.
It's last looks.
We have one more hour, and we have to finish these makeups.
This is very stressful.
There's still a lot to do.
We still have to finish our entire paint job.
- Roy, do we have Krazy Glue? - I don't think so.
I'm trying to put these tubes on the female character.
We try every type of glue.
It's not working.
They won't stay.
They're just, like-- they're just popping.
At this point, I'm really worried that I'm not painting the female character the right way, but I'm doing my best.
We slide the bride's cowl on.
Just carefully, keep going.
And we're trying to stretch it so it's not hitting the makeup - Wait, wait, wait.
- Ooh! And we get a tear, so I try my best to patch it.
Time! Oh, my God, you look awesome.
Time's up, and I forgot to put the bolts in the head.
How could I forget something so crucial to the makeup? If anyone on our team has to suffer for that, it should be me.
Welcome to theFace Offreveal stage.
Tonight, one of you will be eliminated.
First, say hello to our judges.
Owner of Optic Nerve Make-Up Effects Studio, Glenn Hetrick.
- Good evening, guys.
- Hi, Glenn.
Three-time Oscar-winning makeup artist Ve Neill.
- Good evening.
- Hi, Ve.
And Neville is unable to join us today, but we have actor, writer, and producer Kevin Grevioux back with us.
How you guys doin'? Kevin, thank you so much for being here.
Your spotlight challenge was to create your own futuristic Frankenstein and his bride.
Let's take a look at your monsters.
This is just a wonderful collaboration, and I'm very proud of us.
Our characters really do look cool.
Just, when you compare them to everything else, they're just a lot simpler.
Our monsters look okay from a distance, but you never know what the judges are going to like.
Our monsters have this cute chemistry, and I'm very happy with how they look as a couple.
It doesn't look to me like it was a group effort.
It looks like too much individuality is trying to come through.
Well, judges, it's time to get up close to the monsters.
That's wild.
I've never seen that kind of detail.
Like little braces or something.
Our characters, I love them, but the judges might hate everything.
Let's see you emote through that makeup, and let's see how well it moves.
- Oh, nice.
- That's nice, the eyes.
I want to see what's on top of your head.
All right, cool.
Thanks.
_ _ Okay, turn to the side.
Okay, now this is just wrong, guys.
Yeah.
It's very patchy.
I'm nervous.
I know, if we're on bottom looks, it's Eddie and I on the chopping block.
I want to see the range of motion.
Let's see your back.
Bionics.
I like that.
And turn around.
I like the arm.
Yeah.
That's cool.
Come all the way around.
See, all the pistons move, which is cool.
Come back around.
All right.
Thank you.
I love this big, giant, purposeful edge.
That's a great detail.
_ Oh, I see.
The jaw is in the wrong place, guys.
Put your head down.
I wondered what these holes were for.
I see the judges pointing out missing pieces, like the bolts on top of his head, and that is the makeup that I was responsible for.
I just don't want any of my teammates to have to pay for it.
What do you think of tonight's monster couples? Tell us on Twitter, using #FaceOff.
I just wondered what these holes were for.
Those rivets on top were my responsibility, so I'm a little nervous about that.
She looks much better far away.
They blew it with the paint job.
- I agree.
- That's too bad.
They're doing this cool, stretchy burn victim.
The survivor of a plague or something.
- Yeah.
- Thanks.
Okay, Kevin, you told these guys what it would take to impress you today.
- Are you impressed? - I am.
These guys did an amazing job of meeting the challenge.
Thank you.
The judges would like to speak with each of you to find out more about your work.
Alana, Laura, and Laney, please step up.
Please tell us the story of this couple.
A mad scientist buried a corpse in the ground, then lightning struck and regenerated him.
He had to find another power source, so he created the bride, and she is the charger, and he is the battery.
Neither one can live without the other.
The face and the cowl was sculpted by me.
I sculpted the face on her, and I sculpted the brain on Frank's head.
Alana and I tag-teamed the scars and scrapes on her.
- Laney did the wig as well.
- They're a great couple.
You've kept her beautiful against the contrast with your Frankenstein.
Her face is lighter than the rest of her body.
It pops out.
Really great decision-making in terms of how you balanced those makeups.
- Well done.
- Thank you.
Ladies, I love the paint jobs.
I love the modeling on both of them.
I think they look really good together.
- Congratulations, ladies.
- Thank you.
When I first saw the design, I didn't think they looked like they belonged together, but upon hearing your backstory, I see why you made the choices that you did.
- You guys did a good job.
- Thank you so much.
You can step down.
Sam, Eddie, and Miranda.
What was the concept behind your design? Our concept is about a man and woman who are so in love that they want to be together forever, so they approach a doctor who performs an experimental immortalization procedure, but this doctor implanted a mind-control device to create an army to take over the whole world.
Right.
Now, who did what? I sculpted, painted, and applied the two faces, Sam sculpted the female headpiece, and Eddie sculpted the male headpiece.
I think you missed an opportunity to be much more creative.
It's too Borg-inspired.
It's a little on the nose.
Who did the hands, by the way? I did.
I sculpted hers.
You sculpted them, and did you apply them as well? - Mm-hmm.
- Ooh, not such a good thing.
Her hands aren't painted the same color as her face.
And did you mean to have tubes coming out of that other hand as well? - It was a time issue.
- Okay.
Miranda, I think with his face, there's some great subtlety and nuance to some of the bumps and textures that are going on, but I do not like the bride of Frankenstein's head here.
It is bulbous.
The design doesn't make any sense.
Okay, you can head back.
Thank you, guys.
Roy, Adolfo, and Scott.
Could you please tell me your backstory? This is our doctor.
This is the woman that he loves.
She dies unexpectedly.
He works at a cryo lab, and stores her so, hopefully, in the future, he can bring her back.
He dies, and another scientist builds him a robotic body and covers him with flesh.
Since his head was severed, he has pistons that help him move his head around.
I like your character.
It looks like his shoulders are square, but his head is offset because of the way you have the collar.
That's really cool, the way you did it, and I'm glad that the arm's articulated.
That's really cool as well.
I like the tubing coming from her brain.
Who thought of that idea? The bride's energy is coming from the tubes to her chest, heart, back.
It's also meant to symbolize hair.
I think that's interesting.
Good job.
With the female, you've gotten caught between making her really horrifying or really beautiful.
The Frankenstein, I love the idea of moving that shoulder and the way his arm is hidden, but he's so top-heavy.
So, mixed bag for me this week, guys.
Thank you.
You can step down.
Tate, RJ, and Lyma.
Let's hear the backstory.
Well, Third World War, scientists cull the bodies of dead soldiers and create super soldiers out of those remnants, but the scientists don't finish the project.
Humanity has perished.
They find this book, which is the notes of the biomechanics of the creatures themselves.
We've been calling them "Adam and Eve.
" There's some really strong sculptural ideas with Frankenstein.
On the female, however, not so much.
There's a lack of logical decision-making in terms of the anatomy.
That is exacerbated by that paint job.
That contrasty airbrushing would never hold up on camera.
And who painted which makeup? Tate started the pre-paint on the cowl first, and then Lyma applied and painted the girl character.
Okay, Lyma, I got to ask, are you primarily a body painter? - Yes.
- Okay.
It's very evident in this makeup that you do a lot of airbrushing and, unfortunately, it doesn't look organic.
It looks very blown on.
- Thank you.
- Thank you, judges.
Frank, Rick, and Eric, please come to the center.
All right, guys, so what's your backstory? They are actually terraformers in a future world, and they have a crash, and the only parts left are the hands of the two lovers, which they use to reanimate themselves.
I sculpted the male, and Frank sculpted the female.
What's with the jawpiece? It doesn't fit him properly.
I thought it might be funny to have his lip showing, so I suggested maybe glue it a little higher.
Dude, what were you thinking? You thought his lip would be funny showing, when his whole chin's hanging out of a chinpiece? One more question.
There's all these little dots around the top.
Yes, that's 100% my fault.
There was meant to be rivets on there.
That was something that I forgot to do.
Well, that's too bad.
That would have been really cool.
I like it.
I think they look good together.
They share skin tones.
That's important.
- Good job.
- Thank you.
On the female, I think that the application is handled really well, and I love the subtlety of the sculpture.
However, I don't understand what's going on with Frankenstein.
He either looks really, really, really sad or absolutely confused, and that's because of the way that the eyes are sculpted, and that's a huge problem for me.
Thank you.
You can step back.
- Thank you all.
- Thank you, judges.
Okay, will you please head backstage so the judges can make their decisions? Let's talk about tonight's looks.
Why don't we start with Alana, Laura, and Laney? I think as a team, it was very successful.
I thought the bride really stood out.
Everything was highlighted and lowlighted exactly how it should have been.
It's about the face for me.
That's the best thing about that team's makeup.
Okay, let's move on to Adolfo, Roy, and Scott.
I really liked the paint job on the bride.
There's beautiful color accents all over.
It was really nicely done.
Yeah, I actually liked some of the more interesting things they did with the Frankenstein character-- The attached arm, the use of hydraulics.
I really liked the way his head was offset.
Yes.
Creating all those layers on that guy really worked.
Okay, let's move on to Eddie, Miranda, and Sam.
I don't think we could have asked any more out of Miranda.
The sculpts are very nice, and the color is very nice, and that seems to be all her.
A much as I loved the headpiece, that seemed to be Eddie's thing.
Not quite sure how Sam participated in all of this.
She sculpted the headpiece on the female.
It was bulbous, it lacked detail, it lacked anatomy.
She sculpted those weird little pieces on the arms.
They weren't even glued and blended in, and then there wasn't even any hoses in the one of them.
Okay, let's move on to RJ, Lyma, and Tate.
The Frankenstein character was my favorite.
- The makeup told a story.
- I liked him, too.
The "Eve" paint job was unacceptable.
Those hard color transitions, that's not what we were looking for.
I absolutely agree.
Okay.
Frank, Eric, and Rick.
Eric said that he didn't have a chance to put the rivets on top of the head, which I think really would greatly have helped that makeup.
The way that the eyes are sculpted, he looks bewildered.
It makes no sense to me whatsoever.
Judges, have you made your decisions? - Yeah, we have.
- Let's bring them back out.
So, Glenn, tell us about the top teams.
Actually, there was just one team that stood out above all the others tonight.
So, Glenn, tell us about the top teams.
Actually, there was just one team that stood out above all the others tonight.
Alana, Laney, and Laura.
Yeah, girls! You had a lot of good things going on for you tonight.
They were fun without being silly, and the paint scheme was beautiful.
Congratulations.
As the winners of this week's spotlight challenge, your characters will be featured in this year's Halloween Horror Nights events at Universal Studios, Hollywood, and Universal Orlando Resort.
I just want to cry.
This is the most overwhelming experience.
My piece is going to be at Halloween Horror Nights.
Great job, ladies, but as you know, we can only have one winner.
The winner of tonight's challenge is - Alana.
- What? That's awesome, dude! That's so rad! We had to pick one thing that we liked best, and that was the face of the bride.
- Congratulations.
- Oh, wow.
I feel great.
All this hard work I've been doing all year is really paying off, and I'm so proud of myself.
Alana, you and your team are safe and can head backstage.
Thank you.
Sam Eric, Lyma, unfortunately, you are on the bottom this week, and one of you will be eliminated.
The rest of you are safe.
Will you please head backstage? Please step forward.
All right, Glenn, why don't you tell us about the bottom looks? Lyma, we realize that you made significant contributions to your team, but your paint job was just too harsh and unrealistic.
Eric, with that Frankenstein, we really didn't like the way that the eyes were sculpted, and the missing rivets left your makeup feeling unfinished.
Sam, your bride's cowl sculpture was strangely shaped, and the hand sculpts were less than impressive.
So, who's going home tonight? The person going home tonight is Sam.
Unfortunately, it seemed that you didn't participate enough, and what we did see from you this week, we had issues with.
Sam, I'm sorry, but you have been eliminated.
Eric, Lyma, you're safe.
Will you please head backstage? Sam, we did enjoy having you with us, even though it was a short time, and it seems that you've got a lot of passion.
It's just a really, really tough season.
There's a lot of great competitors.
I had a great time, so thank you for that.
Sam, it's been great having you here with us.
If you'd please head backstage and pack up your kit.
Bye, guys.
It was nice to meet you.
- Good luck.
- Take care.
Thank you.
It sucks to have my time up so soon.
I really wanted to show what I could do individually.
- No! - Bye, guys.
No! I've learned so much.
This is such a humbling experience.
I had so much fun meeting all you guys.
This is definitely a challenging competition, and I didn't realize how intense this was gonna be.
I'm definitely not giving this up.
This is my dream, and I know I can do it.
I'm sad that I'm going home, but I already feel like I've won just getting here.