Face Off (2011) s05e04 Episode Script

Previously on Face Off Miranda's pumpkin brought her her second win.
It's one of the best make-ups we've ever seen on the show.
Thank you guys so much.
And in a shocking double elimination Rick and Eric were sent home.
Now 12 artists remain.
And tonight, they'll go to unexpected depths in their first individual challenge.
- Feels kinda creepy.
- Spider webs everywhere.
I'm completely flipping out.
And some will crack under the pressure.
Ah, fuck! I don't know what I'm gonna do.
Maybe I need to just scrap this whole thing.
Awesome! It was a great design, a mature and professional paint job.
I didn't get why it looked like that.
Bad, RJ.
It's a really good piece, but what it's killing it is the paint.
In the end, one will win a VIP trip from Kryolan Professional Make-Up to one of their 85 international locations, a 2013 Fiat 500 and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
Good morning.
Congrats.
That was impressive.
Thank you, guys.
Maybe not everybody takes it as hard as I did, but being in the bottom last week was absolute emotional torture.
I know I have it in me somewhere to do this.
I'm just going to have to dig a little deeper.
_ - This is dangerous.
- Building's pretty cool.
What is it? Electricity? We see this building.
This looks like it ought to be cool.
Welcome to the Glendale utility substation.
This massive structure was once a bustling power station.
- That's awesome.
- I brought you here today not for what you see around you but what's actually beneath your feet.
It's a network of abandoned tunnels.
Oh, yeah.
Hollywood has made a long tradition out of exploring humanoid cultures that live beneath our own, going all the way back to HG Wells's The Time Machine, C.
H.
U.
D.
, and The Descent.
So for your first individual spotlight challenge, you will each create a subterranean creature of your own.
Oh, no! That's really cool.
Now you see the stairs over there? They lead to the tunnels that I mentioned before.
Down there, you will find six unique areas, each containing evidence of a mysterious creature.
Now, it's up to you to interpret what you find there and create the beast that might have once inhabited these underground lairs.
_ Before I send you down to the tunnels, I'd like to introduce you to a very special guest.
He's a concept artist and master sculptor whose creative vision has helped shape movies like Avatar, The Chronicles Of Narnia Prince Caspian, Alien Resurrection, and Hellboy.
Please give a warm welcome to Jordu Schell.
I'm completely flipping out because Jordu's my hero.
Jordu, thank you so much for being here.
It's nice to be here.
So, Jordu, we are dealing with subterranean creatures.
How can the underground habitat influence those designs? They're probably going to be very pale.
They don't see a lot of sunlight.
They may be eyeless, like moles, so use your considerable imaginations, which I know you all have, of things that dwell underground.
All right, so you will be joining us on the elimination stage.
What are you going to be looking for from these guys? I think that believability in your characters is the most important aspect when you're trying to convince the audience that what they're seeing is real, and if it doesn't look that way, it's not going to work.
Okay, guys, it's time for you to descend into the darkness.
Oh, my God! Good luck down there.
It feels kind of creepy, and it's completely in the dark.
Everybody's trying to figure out where to go.
- Spider webs everywhere! - This is so cool.
I walk a little deeper in this amazing room that is surrounded by kelp and moss and cargo crates.
It was super-inspiring.
I'm so into this, Tate.
Yeah, right? There's something freaky - about this room.
- Yeah, I like it.
I want to try to push myself on this, 'cause it's the first individual challenge.
My concept is this mermaid-esque creature that purposefully goes into the nets of fishermen to capture the men, use them to her liking, so I'm thinking creepy-sexy.
I start sketching, and I definitely want to do something sea-life-meets-human, inspired by crustacean or, like, shrimp, lobster Our people could mate.
Oh, yeah.
I chose the room that has what looks like tentacle marks all over it.
My concept is to have a creature that's part worm, part octopus.
My idea is to have my actor on his hands and knees.
I'm going to try to make like the tentacles are moving, which is difficult to do, so I'll make it as believable as I possibly can.
This is going to be a fun one.
There's a lot of goodies in here.
I just see this as, like, activated by the blacklight.
So I saw the bones and the blood and the toxic material.
It looked really interesting to me.
I come up with the idea of adding mandibles to my character because it would use its mandibles to guide itself through these underground catacombs.
This is the room with chains on the wall and an electrical panel.
It's a creature that was probably kept captive.
It's our first individual challenge.
Yes! For the first time, I have a chance to show what my skills are, so I start drawing out shapes.
Through evolution, its eyes have gone away.
Teeth come out of its mouth and just flow down its body.
He broke his chains.
I mean, honestly, this thing-- Well, I guess the electricity just make him stronger.
- Yeah, maybe.
- Rip the chains off him, and he escape.
First thing I see is a door that is broken down, and then I think if this got closed off and people got trapped down here, what would they eat? - I love this room.
- Yeah, me, too.
Maybe humans ate cockroaches or cockroaches ate the humans.
So I want to do a female character with different little wounds all over her body where the cockroaches will be living and biting on her.
- I'm really excited to see yours.
- I know.
Really, we just have two clues-- - claws and some feet.
- Yeah.
The area I'm in kind of looks like a subway station, and that gets me thinking about rats.
So I decide that I'm going to do a naked mole-rat, and its society is warring with another subterranean society, and the captive chained to the wall was a prisoner of war.
Definitely a work in progress at this point.
- Come on, mama.
- Watch your head.
Back in the lab, we've got 5 1/2 hours to work, so we choose our models and start working immediately.
The first thing I do, I just start sculpting this cowl and just let the clay speak to me.
My room, it has, like, broken chains and electric panels.
So my concept is this prisoner that was sentenced to death, so they electrocuted him, but nobody knew he was going to be immune to electricity, so it made him stronger.
Perfect.
I want to start working on the back of my sculpture, so I used reference of Alana's back.
God, you have gorgeous bones.
I'm giving her a very big hunchback, big shoulder blades popping out.
I really like that shape.
I love how it's turning out.
My clue is a dusty footprint and three scratches down the wall.
So I decide I want to take different aspects of different creatures.
So I go with the ears of a bat and the nose of a mole and combine them with an armadillo because it's something that would be digging through the ground.
Because I combined so many things, I want to find something that inspires me.
Let me know if you see a mole anywhere.
I saw a mole in here.
- You saw one? - Yeah.
This mole-rat that I have in my mind could have been mutated from the chemicals leaking down into the soil, and the fact that there's hair all around in my room, maybe he's losing his hair.
This is my first individual challenge ever on Face Off, and I'm excited to finally get to really just show what I can do.
You're doing a mole also? - Yeah.
- You are? There aren't many creatures that live underground, though.
RJ and Laura both have ideas to do mole characters as well.
Awesome.
Now that I know everybody's doing a naked mole-rat, I don't really know what to do.
They both made it all the way to the finals, so now I feel like we're kind of in direct competition.
That's not really a place that I want to be.
We'll all just have to be really creative with our overall design.
_ _ Maybe I need to just scrap this whole thing and start over.
- Coming up - I have to risk it.
Ah, fuck! Think, think, think! This is definitely an "Oh, crap" moment.
This has never happened before.
I love this make-up.
It's just too messy for me this week.
I want to take a survey of how many people are doing freaking moles.
RJ and Laura both have ideas to do mole characters as well, which makes me a little bit nervous, but I have a pretty clear design that I've had since the second that I stepped into my room, and I don't want to change that.
Hopefully, my mole-rat is the best.
Frank, are you doing a naked mole-rat? - No.
- Okay, thank God! Roy's building a full-size octopus.
You gonna take down the Nautilus with that? I can take down you.
That is fucking awesome.
- Hey, guys! - Hi, everybody! - Hi! - Hey, how's it going, guys? - We're here for a walk-through.
- My favorite part of the day.
I went to this scene where there was toxic fluid and structures that had been bitten.
I want it to be a scientist that had an accident, and then mutated into this creature.
I want teeth in his real mouth and then have another layer of teeth on top of it.
I would do away with the lower lip so he has no lips, as opposed to, you know - Okay.
- seeing too much human there.
I found a room that had tentacle marks all over the walls, so I'm thinking an octopus-human hybrid in mid-transition.
I'd add a little more beef to the neck here.
- Okay.
- It's a common mistake - a lot of people make - Yeah.
Is not making the sculptures thick enough, and then there's nothing there to really run.
- Hi, Eddie.
- Hey, guys.
During the last challenge, Michael Westmore's advice really saved Scott and me, so anytime Mr.
Westmore comes by and says something, we're definitely going to figure out a way to interpret that into our make-up.
The rats, when you see them, you know, that head and the whole body all connect all the way through.
So go more with what we've got here with the rat folds coming all the way up to the cranium? Yeah.
I'm just nervous, especially after the last spotlight challenge.
I just don't want to be a bottom look again.
- Roy! What are you doing? - What are you doing? Sort of an evolved octopus, so, like, the arms will fit in here, and the legs in there, and these here will actually move along with it so it looks like the tentacles are moving.
You know what helps with a mold this big? You get a couple of 2x4 boards and literally getting down, trying to get them on the level thing, because when you turn this thing over, the mold isn't going to rock, you can work on it, - and it'll be really easy.
- Okay, cool.
- I can't wait to see this.
- Yeah.
- Good luck, Roy.
- Good luck, Roy.
Thank you.
All right, guys, we're heading out.
- Good luck.
- Thank you! - See you later.
- Thanks, guys! - Bye-bye.
- Appreciate it.
- Thank you.
Are you going to mold that thing? No, I'm going to let the model wear clay.
I've still got an hour before the end of the day, so I'm definitely going to get this thing molded today.
Oh, my gosh, that's going to be so big.
That's what she said.
It's starting to set up, so I know that I can come in first thing in the morning and clean it out.
There's exactly one hour left! My mold looks good, but it doesn't seem like the plaster is completely set.
I have to risk it.
I need to finish the mold today, 'cause I'm working on my own, so time is really important right now.
Fuck! As I am opening it, it cracks.
Fuck! Think, think, think, think I start pouring plaster on top of the mold, but time's running out.
That is time! Let's go! ¡Vámonos! Damn! The only thing I can do is hope that tomorrow, when I come back, this is going to be okay when I take it apart.
I have never felt this nervous.
Whoo! It's the second day of our subterranean creature challenge, and we have 9 1/2 hours left in the lab.
The first thing I do is check the crack.
It's still there, but it seems fine.
It's not going to be a seam on my prosthetic, so adding that extra layer of plaster really helped.
Eddie, Tate, Frank, can I get you guys to help me for a second? If we can take this and sort of just roll it over, that would be fantastic.
There's easily 400 pounds of mud surrounded by 100 pounds of concrete on this table, and I got to get this mold off the table so I can get it cleaned out.
- Oh, you got your end? - I got it.
Aw! Holy shit! Okay, good.
Just take it on the floor.
At least we can go canoeing after all this is over, right? Yeah.
The next thing is to take it out and wash it out and start throwing latex into it.
What the hell was I thinking? Those are going to be venom sacs and, like, that's what the shell is for, to protect those sacs.
I'm taking a lot of inspiration from a bunch of different subterranean creatures.
I'm hoping that the judges can see that it's an amalgam, not a big mess.
I'm sculpting out five different sizes of little tentacles, and I'm going to deposit inside the pros-aide transfer.
Pros-aide is a liquid glue.
It's almost like gelatin or silicon but it's already sticky and can be applied very easily.
This mold's taking me longer than my sculpture did.
This is a difficult mold to make because there is so much bend and movement to it.
I need to divide it down the middle and follow this bend.
Plus, the tips of this fin are paper-thin, so I really need to be careful not to bend my sculpture.
Once I get it cleaned out, it's time to start applying the poly foam, so I mix big batches of it and pour it into my mold.
That's stiff foam, though.
And then I realize, well, this is stiffer than what it should be.
Yeah, this one was a lot harder than what I thought it was going to be.
I thought it was a softer foam, but it's a rigid foam.
There's two types of A/B foam.
Soft foam is like squishing a loaf of bread.
Rigid foam is like squeezing a brick.
This is definitely an "Oh, crap" moment.
There's no way to get this thing out.
I start pulling on it.
There's no way.
I built this entire concept around these tentacles.
Shit.
I don't know what I'm going to do.
My entire piece was swinging on this, so I might as well go home and pack now.
So it's day two of our subterranean challenge, and I can't get this rigid foam out.
I start pulling on it.
Nothing.
Then I grab a couple of chisels and a mallet and start trying to chip it away so I can at least get another run at the mold but I realize it's going to take me three hours to clean this out, and with four hours left in the day, I don't have the time.
There's no way I can use this mold.
I decide to scrap the entire piece.
It's 90% of the creature.
I mean, that's what the bulk of it was was the tentacles, and now they're gone.
- How'd it come out? - It didn't.
Oh, it didn't? - Oh, fucking shit! - Okay.
I at least have a face piece that I had already sculpted out, so I'm not without anything but it ain't much better than having nothing.
Miranda's going to stick with mole, so I'm going to go more rat with mine.
For the tail I use a pool noodle and shave it down, and then I spray glue all over it so it maintains its rat-like, disgusting shape.
So my new concept is the evolution of a squid.
I can build an octopus and also make a squid head.
I could fabricate that pretty quick.
Right now, I'm just throwing things on a mannequin to see what works and what doesn't.
Just so long as I have something.
I don't want to just have a head on a robe.
Hey, guys, one hour! People are about done for the day.
I have all my molds and everything ready to go, so I feel like I'm going to be in pretty good shape for tomorrow.
This has never happened before.
Everybody's feeling pretty good and rockin', except for Roy.
Hey, guys, it's time! By the end of the day, I have some semblance of a chest piece and a couple of tentacle arms.
I've also got the base coat on it.
I just hope they don't send me home.
Good day.
I'm starting out with a piece of crap and putting more crap on, so this is going to be, like, a really big crap sandwich.
Good luck, everybody! So, application day.
We got four hours in the lab and then an hour of last looks, and my priority is paint.
Hey, Alana, you want to see what a seam looks like? Yeah, I already know.
I'm going to go in here and work on this piece in here real quick and see if this is going to work.
I'm frantic.
I want to get the cowl finished first, so I've sculpted out a quick squid tail.
I cut a piece of L200 and put it on the vacuform machine, and it actually works.
I can't believe it.
Maybe my luck's changing a little bit.
Oh, that's a bad tear.
Oh, was it not supposed to be open? No.
There's a problem with my cowl.
There's a big tear that goes all the way through.
I have about a 1/2 gap, so I'm going to have to patch that somehow.
So I've got a premade prosthetic piece that fits pretty well over that tear, and it looks like a badly stitched wound.
I just want to spend as much time as I can painting you today.
Hmm? Nice! Alana, doesn't she look like she could be Gollum's girlfriend? - Yes.
- So I have all my pieces down, and I'm feeling pretty good.
But I still have to get cockroaches in my creature's wounds.
If you could lean back just a little bit-- there we go.
Since my character's supposed to be electrocuted, I want to give him this burnt look, so I'm trying to come up with this warm flesh tone.
But as soon as I start painting him, it's-- I-- it's orange.
You know what you should do after you put those veins on? Go back over with your face color and stipple it so it makes it look like it's under the skin.
Where am I? Okay, now comes the fun part.
When you're painting, you need to have areas for your eyes to settle, areas for your eyes to be drawn to So I'm trying to add little details here and there but still keep an overall cohesive paint job.
That paint job's looking good, man.
Thanks, Tate.
Please, get up a little bit? I really want this creature to look like a naked mole-rat, but that has a lot of pinks, and I've never really done that kind of a paint job before.
Now just hold still.
I need to pull it all together and then, hopefully, it won't end up looking like this big, pink thing.
I don't think I've ever worked this hard, this fast.
From the chin up, it's almost passable.
Anything from the chin down, train wreck.
I'm hoping that, if I can put a decent paint job on it, that'll save it.
Time, everybody! That's time! Let's go! That's it, guys.
I'm not feeling really happy about this pumpkin head, but I still have one hour to come up with a plan.
I'm feeling pretty nervous right now.
Coming up You've made a ton of intelligent design choices - this week.
- This is one of my favorites.
I think you damaged the whole thing with your paint job.
Good luck, everyone! Where is that rat? Hey, where's my rat? I still have a lot of work to do, and one hour is not a lot of time.
I start embedding all the cockroaches in her wounds.
Now she doesn't look like a mask anymore.
She looks like a creature.
I've been trying the best I can to salvage this make-up.
Actually, let's put your wardrobe around here.
I'll just step around you.
There's duct tape and pins holding this thing together.
It's a mess.
- Time's up! - We got it all done! I know I'm on the bottom.
It's just how far on the bottom am I? Welcome to theFace Off reveal stage.
Tonight, one of you will be eliminated.
First, let's say hello to our talented judges-- owner of Optic Nerve Make-Up Effects Studio Glenn Hetrick.
- Good evening.
- Hi, Glenn.
Three-time Oscar-winning make-up artist Ve Neill.
- Hi, everybody.
- Hi, Ve.
Creature and concept designer Neville Page.
- Hi, guys.
- Hi, Neville.
And please say hello again to Jordu Schell.
Well, I'm very delighted to be here, and I'm excited to see what I'm going to see.
Gonna be exciting.
All right, guys, so this week, I gave you your first individual spotlight challenge, to use the clues you found underground to create your very own subterranean creature.
Now, while we check out your work, the audience at home will be tweeting about which ones are their favorites, using #FaceOff.
Let's see how your creations turned out.
From a profile, I'm really happy with how the face turned out, but I'm unsure as to how this make-up looks straight on.
I hope the judges see my creature from the silhouette because I think that's where the piece is the strongest.
I'm happy with my edges, even with my bad tear.
It's just going to depend now on when the judges see it up close they like it or not.
Proportion-wise, he actually doesn't look that bad.
He has a really cool silhouette, but he's orange.
Looks pretty bad-ass.
He's got a great silhouette.
I think I nailed the skin tone.
I did about as good as I can.
He looks awesome.
Everything came together.
Even though I'm excited about my make-up, they could all hate it, and I just hope that that's not the case.
After the last critique I got, I have no idea what the judges are looking for, so I could be top or bottom at this point.
Who knows? When my background comes up and those green saturates hit my creature, I'm 100% happy.
He looks like I took a Ferengi and mated it with an artichoke.
I didn't see that at all until the lights hit him.
Bad RJ! Bad! I think I did a good job, and I am proud of what I've done by myself in this challenge.
My creature's not sculpturally amazing, but I feel like my overall concept is completely original.
This is definitely the worst piece I've ever done, and there ain't a doubt in my mind I'm in bottom looks.
Judges, why don't you take a closer look? Really furrow your brow.
I want to see how the top of it looks.
- Yeah, it's not bad.
- You know what's neat? The fact that this flexes and this doesn't.
- Weird.
- I think he kind of wiped out a lot of his sculpting by the poor paint job.
It feels a little fruity pebble coloration.
Okay.
Oh, boy, the painting is so bad.
It looks like a Halloween mask.
I know that my creature's very, very orange, so do they like it? Do they hate it? The paint work is just doing this thing a disservice.
I'm stressing out.
I can't even look.
I don't want to go home.
Who made your favorite subterranean creature? Tell us on Twitter using #FaceOff.
I am completely nervous.
I don't know what to think.
You never know what they're looking for.
I don't understand what these are and why are they painted so haphazardly? - Let's see it move.
- Moves really well.
That is really bitchin'.
Wow! I love this whole thing coming up.
Yeah, it's a beautiful design element.
This is really, really gorgeous.
I'm afraid to get bit.
Ow! - That paint is killing me.
- Yeah.
It's kind of a nice profile, though.
_ - Good God almighty.
- What is that? What happened here? I don't even want to look.
I mean, if I could get away with just walking offstage, I would prefer that.
So the judges have scored your creations.
Let's find out what they thought.
Frank, Scott, Roy, Laura, Adolfo, Miranda, you are the best and the worst this week.
The rest of you are safe and can head back to the make-up room.
Thank you, guys.
The judges would like to speak with each of you to learn more about your work.
Frank, you're up first.
Tell us about your concept and what clues you took from the subterranean room.
In the room, there was some broken shackles.
I assumed that he was a prisoner.
Then through evolution, its eyes have gone away.
You've made a ton of intelligent design choices this week.
The fact that the eyes went away through evolution is brilliant.
- Beautifully done.
- Thank you.
I love the fingernails, the claws.
I think you did a really nice job this week, Frank.
The airbrush work that you did looks so good.
It just feels like he's an underground creature.
It could use a little more color around the mouth, - something to really draw your attention, - Sure.
but this is one of my favorites.
Thank you.
- Frank, you can head back.
- Thanks, pal.
Yeah! Scott, you're next.
Tell us about your concept and what clues you took from your scene to create your character.
In my particular room, there were octopus tentacle marks all over the walls, and the first thing that hit me was using half-hybrids with humans and octopus.
I really didn't get what all this was and why it looked like that.
It's just too messy for me this week.
- Okay.
- There's things about this that are really cool as a concept goes.
It's a good-looking piece, but what's killing it is really the paint.
I have a problem with these bright spots on the head that look like fruit cereal, which just don't work.
Okay.
Scott, please step down.
Miranda? Tell us about the concept.
When I walked into my scene, the first things that I noticed were claw marks on the wall and hair.
That made me think mole creature.
The wrinkling, particularly in the face is pretty spectacular.
It's so natural and organic, and that's just a testament to your skills as a sculptor.
Thank you so much, Neville.
I like the paint job.
It's very subtle, and I think you did an amazing job.
The neck and the head are completely convincing to me.
Overall, you knocked me out on this.
Thank you so much, Jordu.
You can step back.
Adolfo.
Tell me about what clues you found in your underground chamber.
I found broken chains, so I came up with this prisoner that was supposed to be electrocuted, but he actually got deformed and more powerful.
The sculpture just is not real.
It looks very masky to me.
Orange is one of those colors that you would never see in a space that doesn't have any light in it, and this has a pumpkin head, it's so orange.
The sculpture is extremely rudimentary.
It lacks the forms that tell its story.
You sculpted a mask, and you painted black around the guy's head, and that's not good enough.
Adolfo, you can head back.
Roy, please step up.
Tell us about your character.
The room that I had had tentacle markings on the wall, but this was not my original concept.
I made the mistake of grabbing rigid foam instead of soft foam, so I obliterated the whole thing.
The plan was for it to have, like, octopus legs, and the actor was going to walk on all fours.
That sounds pretty cool.
This isn't.
I'm not happy with your work this week, Roy.
It's hard to polish a turd.
It really is.
You said it.
Yes, sir, I sure did.
But the fact is we have to judge you for this.
There's a couple things I do like.
There's some great lines that flow from the nasal beak.
Roy, you can step back.
Thank you, buddy.
Laura, you're up next.
Can you tell us about your concept? My scene had scratches on the wall.
It also had chains and some footprints.
She's a prisoner, and they chained her to the wall in hopes of getting some ransom.
She's very unique and really cool looking.
My one comment is the fact that she's supposed to be underground for so long-- she looks a little pink to me.
But all in all, I think she's a very cool character tonight.
Thank you.
I think this thing is fantastic, and I love the way that the hands seem really big.
That's super-creepy.
Thank you.
I love this make-up.
The way that the face is down here and the head is back here, I think that's absolutely brilliant.
Thank you.
Laura, will you please step down? All right, guys, the judges have heard what you have to say.
If you'd please head back to the make-up room while they deliberate.
All right, guys, so let's start with the looks you like the most.
Why don't we start with Frank? There's rational logic to the decisions he made, and also layers of paint is something I've been asking for forever.
We have something that your eye goes right to, and that is the focal point of your design.
For me, that is design, and Frank's had that.
All right, let's move on to Miranda.
She blows me away.
When you looked at it from far away, it worked, when you looked at it up close, it worked, and the head was perfectly proportioned to the rest of the body.
All right, let's move on to Laura.
A ton of brilliant decisions.
I thought how high she made that forehead and it made the face look kind of smooshed, but not too much-- didn't go too far out.
The way that she created the claws was really effective.
Now let's talk about some of the looks you didn't like so much.
Why don't we start with Scott? The design had no cohesion.
It had stuff just stuck on.
Yeah.
It just was not obvious what it was.
And the paint job was not acceptable.
All right, let's move on to Adolfo.
I loathe this make-up.
He sculpted a mask.
But it was really well-proportioned.
But the head ruins that, because it is so mask-like, and the paint job is so Orange? It just didn't look right.
Let's talk about Roy.
Oh, boy.
I don't know why he tried to do so much.
I would rather have seen just a great head Me, too.
instead of that godawful construction on the arms.
Just focus on giving me a brilliant make-up.
All right, judges, have you made your decisions? We have.
Let's bring them out.
All right, Glenn, tell us about the top looks.
Frank, we thought your sculpting was very strong.
Your paint job made it a really outstanding piece.
Miranda, you did a fantastic job, using reference and your own imagination to create a very believable character.
Laura, this was one of those creatures where we knew a lot about her right away.
She was, therefore, quite convincing.
All right, Glenn, who is the winner of this challenge? The winner of tonight's challenge is All right, Glenn, who is the winner of this challenge? The winner of tonight's challenge is Miranda.
Thank you guys so much.
I can't believe it.
Your creature worked on every level.
It was a great design and incredible sculpting and a truly professional paint job.
Well done.
I've won three out of four challenges.
I'm really proud of myself, and I just hope I can keep it up.
Congratulations.
You, Frank, and Laura can head back to the make-up room.
Thank you, guys.
Unfortunately, that means the rest of you are on the bottom this week, and one of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
Adolfo, it looked like your character was wearing a mask, and the color that you painted him just did not read subterranean.
Roy, we realize that you had a catastrophic failure in the lab this week, but we have to judge you based on what you put in front of us, and this week, it wasn't very good.
Scott, we felt that you really could have pushed your design and your sculpture much further, but ultimately, it was the poor paint job that sunk you this week.
So who's going home tonight? The person going home tonight is Adolfo.
There were a lot of choices here that just didn't work, and we ultimately couldn't get past the mask factor.
It's been amazing.
I'm just blessed to be here.
Adolfo, I'm so sorry, but you've been eliminated.
Scott, Roy, you're safe this week and can head back to the make-up room.
What's so important is that you go forth from this and continue to stay creative.
Thank you so much.
Good luck.
Adolfo, it's been great having you here with us.
If you'd please head back to the make-up room and pack up your kit.
- Good luck.
- Good luck.
I wish I was able to develop the character a little bit better.
However, I worked really hard, and I need to be proud of that.
- Good-bye.
- No! Hey It is super-hard to get in this competition, but this is just the beginning for me, and I'm going to work as hard as possible to make it.
I'm not going to stop until I get to the level that I really want to be.
I just can't wait to go back to work and share everything I learned.