Face Off (2011) s05e09 Episode Script

Previously, on Face Off Miranda earned an incredible fourth win with her sexy circus alien Thank you.
And veteran Alana was sent home.
Now, only five veterans and two newcomers remain.
Tonight, the artists face a challenge of biblical proportions This is my challenge to win.
And for some, it will be pure hell.
Frank, can you please help me? Please? Miranda, I'm gluing shit! I'm literally on the verge of tears.
The sculpt is gorgeous.
There's almost nothing here.
It's an exceptional job this week.
In the end one, will win a VIP trip from Kryolan Professional Make-Up, to one of their a 2013 Fiat 500C, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
Are you more bummed out about you being in the bottom or more bummed out that Alana's gone? I'm just bummed out the way that everything happened.
Like, it was a disaster.
I am so insanely heartbroken that Alana is sent home.
I definitely think Alana and I could have done something way better, but we just weren't able to pull it together.
Being on bottom was really scary.
- Mm-hmm.
- I just hope this next challenge, I can get back to where I should be.
After being on top, I'm definitely more motivated to try to be there again this week, so-- - But you can't have this one, because this one's mine.
I'm winning this one.
The one that's coming up, I don't care what it is, it's mine.
In the last challenge, I was safe, but I didn't come to play it safe.
It's time to step up.
We walk into Saint Brendan's, a Gothic Revival church.
There's lots of stained glass windows.
I love the chandeliers.
It's absolutely gorgeous, but at the same time, it's very creepy.
Hey, guys.
Hey.
Welcome to Saint Brendan.
This church was built in 1927, and it has been a popular filming location for many blockbuster films including Spiderman 3, Fight Club, and Armageddon.
The stain glass windows that are all around you depict scenes from biblical times.
Those ancient stories are tied directly to this week's spotlight challenge.
The concept of Original Sin was born in the Garden Of Eden, but since then, sins have only multiplied.
Many works of art, literature, films, and television shows have highlighted the most famous of them all.
The seven deadly sins.
Wow, awesome.
This is something that I said I wanted, and I'm so excited.
Your spotlight challenge is to create a forbidding character that embodies one of the seven deadly sins.
Greed, envy, sloth, gluttony, wrath, pride, and lust.
I am a big fan ofDante's Inferno and the story of the seven deadly sins, so this is my challenge to win.
Historically, ch of the seven deadly sins has been represented by a unique color.
When Glenn calls your name, make a selection and tell us your sin.
Laney, you're up first.
Greed.
Pride.
Wrath.
Envy.
Sloth.
Gluttony.
Fat kids gets gluttony.
Lust.
Glenn, how would you approach designing a makeup based on a single word? It's so important to find the exact essence of that word before you start designing, but I challenge you to bring it to life while trying to avoid the obvious.
All right, guys.
Before you leave, there's just one more thing you need to know.
You'll each need to incorporate the color that's associated with your sin into your designs this week.
Oh, great.
I have no idea how to incorporate lust and royal blue.
All right, we're going to leave you here to work on your designs.
Grab your apples and get started.
- Good luck.
- Thank you, good luck.
When you hear gluttony, and the first thing that comes to mind is a big, fat person, so I want to build a full body fat suit.
My mind just starts going to all the technical aspects.
Like, how to build it as big as I possibly can, but I'm still trying to figure out a way to incorporate the sin's color into the makeup.
When someone's greedy, I think it makes them ugly, so I'm going to make a woman who's being boiled alive in oil for eternity.
She's gonna have a dress made out of money.
There'll be blisters all over her face.
I'm gonna paint the skin tone and her boils yellow.
Dante's Infernodescribed sloth as spiritual laziness.
The consequence is running into pits full of venomous snakes, being bitten and constricted, and then eviscerated into ash, reformed, and do it all again.
One of the things in the cathedral that's really inspiring me is this giant crown that's above the crucifix of Jesus, so my character will be bound to a spiral staircase, which leads up to the crown with the eye of God looking down and judging.
I'm gonna go with an ashy flesh tone and use the light blue as my highlight tones.
Well, my concept is a demon who committed the sin of envy and has turned into this hybrid of human and the church he was unfaithful to.
At this point, I'm not sure how I'm gonna incorporate the green, but in Dante's Inferno, people who committed envy had their eyes wired shut, so I decided to make my character's eyes broken stain glass windows to represent that.
Okay, everybody.
So we get back to the lab, we pick our models, and we have six hours to work today.
Immediately, I start sculpting a cowl and a facial prosthetic.
Wrath is the physical embodiment of hatred.
It's most sinful when done upon yourself, so I make my design a woman tearing her own face off and revealing this demon within, and then for the color, this could be a very bloody character.
Pride is also known as vanity.
My idea is to create somebody who is so vain, that they've so many things to make themselves thin and beautiful that they actually have become a monster.
I know how I'm gonna incorporate the color 'cause bruising is purple, and I'm also gonna put her in a purple dress.
The punishment for lust is to get swept in this eternal whirlwind, and so I'm thinking I can do this sweeping head shape that goes into horns.
I've got blue, and it's just not really my aesthetic quite as much, so the wheels are turning, and I'm trying to figure out how to use this color and make it work for lust.
Basically, lay up here.
To get this fat suit started, I asked Tate to lay down on the table so I could trace him out.
I have to make sure that things are lining up correctly, 'cause otherwise, when I put it on the person, it could be a disaster.
I'm sculpting this fat suit pretty much from the neck to the knees.
I'm gonna sculpt it flat and then glue it around some wardrobe.
I'm gonna probably make the fattest makeup that anybody's made on the show so far.
Go big or go home, huh? Hey, guys.
Here for a walkthrough.
Well, I got sloth.
It's gonna be two separate snakes, one that constricts the breathing and another that binds the arms behind the back.
That snake head's sticking out.
You might chop it off and just make a little two-piece mold.
Yup, I already got my armature ready.
Oh, okay.
Very good.
- Oh, my God.
- All right, so remind us again what you picked? - Uh, gluttony.
- Uh-huh.
You know, first thing comes to mind is a big, fat person, so Well, I'm trying to go a little bit extreme, because Glenn doesn't want it to be the lowest hanging fruit.
I'm trying to go, like, morbidly big.
You're lucky in that when the character is revealed to the judges, they know instantly what it is.
- They don't have to be told.
- Yeah.
The color, how are you gonna incorporate your color? Still trying to figure that out.
- Are you? Okay.
- Yeah.
- Hope it works out.
- Yeah.
What sin did you get? I got pride.
I want to do sparse hair, so I want to punch individual hairs into it instead of using one of the lace wigs.
- It'll look a lot better.
- Yeah, it's a good idea.
Just use coarse hair, so then you don't have to punch as much as opposed to, you know, a fine hair.
My sin is lust.
The color that I got is this royal blue, which I don't want to paint the creature that color, so I'm thinking I'm gonna do the wardrobe in the royal blue.
I was thinking lavender for the skin tones, then fading up into the blues.
And then you're gonna do a beauty makeup on her? I am, so I was thinking to use the blues in that - as well.
- Very good.
- Good luck.
- Good luck.
- Thank you very much.
Thank you guys.
I have wrath.
This is obviously all gonna be exposed muscle.
Should I cover it in blood or maybe just keep the blood around the edges? I would go minimal with the blood, - using the blood as an accent.
- Right.
Not as a Halloween character.
I got greed.
I took this youthful model, and I'm going to make her very old aged.
My concept with that is she gets greedy, like, her youthful is drained from her.
You say you're gonna do an old-age.
The wrinkles have to be right, or it's wrong.
- You got a long way to go.
- Yeah.
So I got envy, and I was really inspired by the cathedral that we were win, so I'm definitely incorporating that.
When you first look at it, are the judges gonna be able to understand this is envy? I-I hope so.
I mean-- - I mean, that's something to think about, you know, - as you're doing it.
- That's gonna be tough, yeah.
Michael Westmore is worried that my design does not read "envy," and that's not a good thing.
I'm starting to doubt my concept.
What are you going to do to have the feel of your particular challenge? I might have led myself in the wrong direction.
Were you thinking of that? And this is terrifying, because I'm gonna have to change a lot of things in order for this to work.
Coming up You saying it's a quick-connect isn't helping me at all.
I'm sorry, I'm in the middle of gluing shit.
This is an amazing, gorgeous makeup.
You're so far off from an out-of-the-box approach to the challenge.
When you first look at it, are the judges gonna be able to understand this is envy? I-I hope so.
It's day one of a seven deadly sins challenge, and I think Michael Westmore is worried that my design is too abstract.
A part of me is worried that the judges won't initially read "envy," but I really want to take Glenn's advice and do something different.
- Take care.
- Thank you.
All right, guys, we're heading out.
Good luck.
- Thank you.
- Bye-bye.
- Thank you.
- Bye-bye.
So what's your concept, Frank? Fat people.
I'm able to get this sculpture done in about three hours, which gives me plenty of time to get it molded and cleaned out today.
There's a lot of things that can go wrong on a mold this big.
You need to make sure that it's re-enforced properly so that it doesn't crack when I have to take the mold off the table and move it.
Your art piece? Frank is doing a big fat suit.
He's doing what the judges told him not to do.
He's dancing to Frank's tune, and I think he could be in trouble.
Since my character is tearing her own face off, the cowl needs to have a lot of wrinkles, I want to make sure I get it right.
I want it stretched and buckling and pulling and there's a-- I guess I could let you-- Okay, who wants to give me some help? This is a big mold that needs to get flipped.
Frank already molded that thing? - Yeah.
- Holy shit.
One, two, three.
- Look at that.
- I hate you so much.
It's sickening how quickly the clay just falls out of the mold.
He didn't have to clean out a damn thing.
It's time! Day one, and I got my fat suit molded and ready for foam, and I'm feeling pretty good.
I know Glenn said to not go with the obvious route, but with gluttony, I guess it's got to be a fat person, but I think that because I'm going so extreme with how ambitious this is, I think that I'll be okay.
It's second day in the lab.
We have 9 1/2 hours, and I have to make sure all of my pieces are detailed.
I have to mold my pieces, and then after that, I have to fabricate a few costume pieces.
It's normally not this quiet.
Everybody is just so into their work.
There's a lot riding on this makeup, and you don't want to be the one going home on this one.
So I've got to get my sculptures finished up and molds made and start running silicone.
I decide to go with silicone all the way around because I want to have that translucent skin look, but the last time I used silicone in the lab was on the Grimm challenge that I got eliminated on, so I'm taking a risk, but you know what? I'm gonna take it and run it till I get it right.
I'm done with the face and I'm gonna mold that.
While that mold is setting, I'm gonna sculpt the arms and the back of the neck fat roll.
It's an enormous amount of work.
I really want to go outside of my comfort level and really, really, really push myself, and this is about as big and crazy as I can fathom.
I don't know how to do wrinkles.
I'm really nervous to be sculpting old age.
I've never really done wrinkles or skin texture before, but I'm hoping that it will just impress the judges that I'm trying to do something different.
Looks really cool.
Time is ticking away, and I'm just kind of hopping back and forth between the face and the cowl, and just trying to get them done as quickly as possible because I know this cowl mold is gonna take me a long time.
I've got three main components that I need to fabricate today.
I've got to make the crown, I have to make the spiral staircase, and I have to make this giant snake that kind of corsets my character together.
I find this foam-like tubing.
Then I find this really cool fabric that's almost like a snake-scale sort of pattern, and I spray-glue that down.
I use a soldering iron to create some scale details.
Then I latex it over and it looks just like snake scales.
Sculpting something so geometric has taken so much time that I'm feeling very behind, so I decide that I have to mold the face, the cowl, and a buttress.
This is a lot of work in a short amount of time, and I really want to get it done.
Can one of you guys help me just strength-wise? I've got my mold open.
I just need to pick it up.
I've got ridiculous amounts of work to do, but I want to see everyone succeed.
- It's so heavy I can't lift it.
- Oh, okay.
So I'm gonna help her get this out.
Oh, shit.
It's cracking right here.
Yeah, I see a crack over here too.
It's starting to crack in a few little areas, and I'm getting a little scared.
You know what you should do? Go to the power washer, and shoot all along there so you can loosen that clay up.
- Can you help me carry this? - Yeah, you can carry that, - I'll carry this one, yeah.
- Thank you.
So I run outside to go power wash it.
Thank God for Tate.
Frank, how are you gonna incorporate your co-- - You're what, orange? - Orange.
How are you gonna incorporate that? Fuck if I know.
I'm so excited to be building this fat suit.
Now, how do I get this thing off? I know that I have to come up with a way to incorporate the orange, but at this point, I have no idea what I'm gonna do.
How do you change these? I have to get these molds cleaned out.
I am just frantic right now.
Oh! The hose comes loose and is spraying me everywhere.
It's just absolutely terrifying.
How do I turn this off? I don't know what to do.
Fuck! Frank, you know how to change this-- the head of this thing? Oh, you just gotta pull the thing down.
It's just like a quick-connect, Miranda, like on the airbrushes.
Yeah, okay, well, it's not working, so thanks.
I'm sorry, I'm in the middle of gluing shit.
It's an individual challenge.
We're all busy as hell, and she's screaming for help.
Frank, can you please help me? Please? Miranda, I'm gluing shit! Oh, my God.
I don't know how the fuck to connect this thing.
It's a quick-connect, like the fucking airbrush.
Yeah, well, it's not working.
You saying it's a quick-connect isn't helping me at all.
If I don't get this mold out, I'm not gonna have any pieces.
I'm screwed.
I don't know how the fuck to do this! It's day two on the seven deadly sins challenge, and panic is starting to set in.
I'm like, "Oh, my God.
" I've got to get this mold cleaned out.
I'm literally on the verge of tears right now.
- Tate.
- Hmm? Will you please help me to change this nozzle? - Please? - You just-- I've been trying for, like, ten minutes.
- Yeah, okay.
- I'm sorry.
Tate, of course, comes and helps me.
Which one do you want? It's just really tough for me to say no.
Oh, you don't change the actual gun.
Leave the gun on, but this part right here, pull that down, pop that off.
I guess the problem was that I had unattached the actual hose part rather than just the nozzle? There you go, yup.
I still don't get that damn power washer, but thank God Tate does.
She took the whole gun apart instead of the tip.
I'm really feeling inspired by the idea of prayer candles in a church, so I'm trying to figure out how to make these PVC pipes look like drippy wax candles, and Tate gives me a good idea of using friendly plastic.
Friendly plastic are little beads where you can drop them in water and heat up the water, and it will turn into liquid plastic that you can shape into anything you want.
Ten minutes left.
That's time, everyone.
Time's up.
By the end of the day, I've got, you know, both of my silicone pieces run, I've got the cowl partially painted and some hair punched in it.
I can spend an hour tomorrow finishing up the hair and punching in the eyebrows, and applying it and getting it done, so I think I'm in a really good place.
After watching Tate help Miranda in the lab today, we're sitting at the house and I just told him, "You're gonna end up out of this competition because you keep helping people.
" Miranda's got four wins.
Us guys have one.
- Yeah.
- It's a competition.
Outside of here, we can be friends, but in here we're competitors and there's $100,000 on the line.
I've got to figure out how to say no.
Grow some balls.
He's right, you know? I'm only hurting myself.
We're at the end of the game now.
It's time for me to win.
- Let's go in, get some dinner.
- Yeah, let's make some food.
- Good luck.
- Thanks, man.
It's application day.
We have four hours in the lab, one hour last-looks.
That's pretty fucked.
Application day is terrifying because I still have to fully paint that 15-foot-long snake, paint the spiral staircase, and apply a chest piece, a cowl.
I've got ridiculous amounts of work to do.
- How are you? - Good.
It's so good to finally get to work with you.
- I'm so excited! - Same here.
It's an honor.
It's, uh-- it's gonna be exciting.
First thing up, I need a jump on painting the fat suit.
So, my paint scheme is basically just a really irritated and sickly skin tone.
That looks sick, Frankie.
Skin tones are tough for some people to do because it's not like it's an alien where you can just paint it whatever color you want.
We all know what skin tones look like, so to put the subtleties and the color breakups and make it look correct can sometimes be tricky.
All right, man.
Ready to get into this? Let's see if it lights on fire.
I decide to make my wardrobe look like it's been burned, like she's been through hell and back, so I get some 99% alcohol.
Should work.
And I start spraying that.
I have a lot of experience burning things.
It's just fun to me.
Ah ha! My cowl did not turn out very well.
It's in multiple pieces.
Not only do I have to still do all of this insane amount of work, but now, I have to take the time to re-patch and re-fit this thing together on her, and the clock's dwindling down.
I'm just trying to do everything I can without making any mistakes.
When I get to my cowl piece, the entire thing has a second skin.
"Second skin" is when you have the foam latex and then the skin, and they're not attached.
I have to cut off the entire second skin and then very carefully glue it back on so that the detail actually matches up where it should.
I'm gonna have to spend quite a bit of time patching this, and I'm scared.
I don't think this sculpt is gonna even look good.
Oh, man.
So much painting to do! My edges on my application, they're not as smooth as I want 'em to be.
I need to fix that.
I'm just having issues, but I'm gonna work my way through it.
There's gonna be makeup onstage that at least I'm happy with.
At the end of application, I've still got a ridiculous amount of work to do.
I have all of my pieces laid down, but the paint job isn't even halfway done.
I don't have any detail, but more importantly, there is absolutely no light blue, which is the color to my sin.
I still gotta paint a giant snake too.
All right, that's time, everybody! My fate comes down to one hour at last looks.
That's all I have.
Coming up Son of a bitch.
I'm almost expecting to go home with this one.
There's no way I'm gonna get it done.
I am just slapping this paint on.
There's almost nothing here.
I think that the sculpt is absolutely gorgeous.
Let's do it, guys.
Going into last looks, I have to incorporate some green tones closer to the face.
I'm very unhappy with how my makeup looks right now.
This hour is crucial to me, so I go crazy.
I start laying down lights and shadows.
I bring in that baby blue for contouring.
Perfect.
I just hope I can get it really quickly.
I just gotta zone in to the painting for now, 'cause otherwise, there's no way I'm gonna get it done.
I am just slapping this paint on her, and it's starting to actually come together.
I did not just do that.
Son of a bitch.
I got all these stitches to put in, and I don't really have the time, so I just paint them in.
I only have one minute.
It's time, everyone! - Pbbt! - Yours came together.
- Mine's terrible.
- No, it really - didn't come together.
- It's so bad, I should've had-- I'm really nervous.
Shit.
Hopefully, the judges will like it.
Welcome to theFace Off reveal stage.
Tonight, one of you will be eliminated.
Let's say hello to our talented judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
Good evening.
Hey.
Three-time Oscar-winning makeup artist, Ve Neill.
- Hi, guys.
- Hi, Ve.
Creature and concept designer, Neville Page.
Hello.
- Hello.
- Hey, Neville.
And this week, we have a very special guest.
He's a two-time Emmy-nominated writer and producer whose work includes Wonderfalls, Dead Like Me, Pushing Daisies, and the critically acclaimed NBC thriller, Hannibal.
Please give a warm welcome to Bryan Fuller.
Thank you.
I'm so excited.
I've been a fan of this show since the first season.
It's really exciting to have somebody like Bryan here, 'cause he knows about edges and seams and paintjobs.
He does deal with it almost on a daily basis.
Bryan, a lot of your work tends to lean towards the darker side, so I have a feeling you're gonna really enjoy - tonight's makeups.
- I'm so excited to see what sinful things you guys are conjuring up.
All right, guys, so this week, your spotlight challenge was to create a forbidding character that embodied one of the seven deadly sins.
Now, we also asked you to incorporate the color that's historically associated with your sin into your makeup.
So let's see what you've come up with.
I think the makeup looks good from a distance.
I should at least be safe.
I guess we'll see.
I can't believe I pulled this together.
I was expecting safe or bottom looks.
Now, I feel like I could take maybe the whole thing.
I think it's so cool.
It's so big and so ridiculous.
All of the pieces came together, and it's really badass.
I think I've completely missed the mark.
It's a lame design, and it's one of the worst things I've ever done.
I think that they may have problems with it 'cause maybe they won't get lust from it, but overall, it's a good makeup.
I really like my makeup a lot.
My only concern is if there's enough yellow, and that could be a bad thing.
My makeup is definitely the creepiest, and if that was one of the challenge parameters that the judges are looking for, I'm in good shape.
Judges, why don't you take a closer look at tonight's characters? Oh, my goodness.
What's going on here? The judges are going directly to the places I was hoping they would not see.
- This edge is really rough.
- I almost want to think that it's intentional.
- No, it's not.
- No, no.
I'm almost expecting to go home on this one.
Who made your favorite forbidding character tonight? Tell us on Twitter using #FaceOff.
Oh, my goodness.
What's going on here? The judges are going directly to the places I was hoping they would not see.
These eyebrows look like brushes.
This edge is really rough and it shouldn't be.
Wow.
- I don't get it.
- Thank you.
- Boy.
- This is a lot of work.
There's a lot of storytelling going on.
I love the spiral staircase to the unachievable crown.
- Mm-hmm.
- And the entire snake - was sculpted as well.
- Yeah.
- Thank you.
- All right, thanks.
I'm utterly confused by this shape and why it doesn't carry onto the forehead.
- Yeah, I know.
- Yeah.
I love the structural quality blending into the makeup.
This could do with a bit more definition.
Yeah, it's pretty rough, but it's a good idea.
Thank you.
- Very pretty.
- It's really nice work.
- Yeah.
- It's certainly clean, and the edges are really well done.
- Yeah.
- Thanks.
Wow.
Because there's layers of flesh tones, it feels like foam.
It's such a singular color.
Actually pretty darn through the neck.
Yeah.
I think it's very clever.
She so wrathful, she's ripping her face off.
Not a ton of work, though.
I mean, a lot of this is on-the-day stuff, so basically, we're just looking at this.
Yeah, thanks.
So Bryan, how do you feel they did tonight embracing the seven deadly sins? Looking across all these makeups, there are so many ideas and clever notions embedded in all of them, that I am very impressed with all of your work.
Congratulations.
- Thank you.
- Thank you.
Okay, the judges have scored your creations.
Let's find out what they thought.
Laura, Eddie, Laney.
Congratulations, you are all safe and can head back to the makeup room.
Thank you.
The rest of you were the best and the worst.
The judges would now like to speak with each of you to learn more about your work.
Miranda, please step up.
Tell us about your concept and how you integrated the sin of lust.
Well, my character is a demon who has a lust for eternal youth.
She lures in men, and then kills them and drinks their blood so that she can stay youthful.
I think that the sculpt is absolutely gorgeous.
Oh, okay.
The symmetry is beautiful.
That is a massive amount of work to do at that level in the time that you had.
This is an amazing, gorgeous makeup.
This whole area right in the face, I love the luminous lavender of her forehead and how your paint job brought the tips darker at the top.
- Quite gorgeous.
- Thank you, Ve.
The lipstick makeup is a little murky in there for me.
It's beautiful, though.
It is drop-dead gorgeous as a piece.
If you're selling lust, we need to see a little more "T" and "A" But I think you really succeed with the makeup.
- Thank you.
- Miranda, please step back.
Thank you.
Frank, please step forward.
So tell us about the sin that you got and how you integrated the color orange into your makeup.
Clearly, this is gluttony, and I glued our little orange apple that we got onto here, so there's some orange for ya.
So basically, you didn't put any orange into your makeup.
- Uh-- - This just is a misshapen fat guy to me, unfortunately.
I have problems with the goiter.
How did you come about this anatomy choice? When Glenn said that we shouldn't go after the low-hanging fruit and do the completely obvious thing, I didn't want to go too far from a fat suit, 'cause I thought it would be fun, so I tried to make it as extreme as I could.
Do goiters have anything to do with being fat? No.
That's a medical problem.
From a creative concept standpoint, there's almost nothing here, and the touch of the apple feels like "Here's your orange, guys.
" The paint that you have on the chest is absolutely gorgeous.
The tones couldn't be done better.
That said, I think you were close with the technical approach, but so far off with a clever, out-of-the-box way of approaching the challenge.
Yeah, I understand.
Frank, if you'd please step back.
Roy, please step up.
Tell us about your sin and how the color is utilized in this.
The apple that I chose was pride.
It's also known as "vanity," and every time that she looked in a mirror, she just keep seeing flaws, so she kept getting cosmetic surgeries, so now her skin is so sensitive that when ever you touch it, it bruises, and that's the way I worked the purple into it is the purple bruising of her skin.
The overall appearance is pretty good, but up close is a real problem for me.
The application is incredibly coarse, and the details-- the stitches for example, they're rudimentary or nonexistent, and that's what's killing it for me.
This was one of those makeups that was a little abstracted from its concepts.
It wasn't quite as literal as gluttony was, so I felt that you were being very thoughtful with it.
It's just-- on close inspection, it wouldn't hold up to camera.
I understand.
It would have been so simple to have created more of the plastic surgery story.
It feels like a zombie makeup, and I don't feel like that really encapsulates your story about pride.
Roy, please step back.
Tate, you're up.
- Hello.
- Hi, Tate.
Tell us about your concept and let us know how you worked your color into the overall aesthetic.
Well, I had sloth.
I wanted to embody that torturous feeling.
I also read that one of the tortures was to fall into the pit full of snakes, hence all the snakebites on the head and chest.
I took this reference from the church, behind the giant crucifix of Jesus there was this crown, so I wanted to use that to interpret the eye of God watching the soul in eternal damnation.
It keeps my interest and it keeps telling a story, which I really appreciate.
Where did you incorporate your color, - which was light blue? - I took the baby blue and I took a stipple sponge, and I put it over the high points to use that as my highlight tone.
Up close, it's definitely apparent where you did it, and I love the fact that you've highlighted the forehead so that stands out.
I think you did a great job, honey.
Thank you, Ve.
I appreciate that.
There's a sophisticated integration of the concept.
It's not too literal.
I understood the crown having been at the church, and the amount of work, very impressive.
Wow, thank you very much, Glenn.
Tate, you may step back.
All right, guys, the judges have heard what you have to say.
If you'd please head back to the makeup room while they deliberate.
Okay, judges, why don't we start with some of the looks you like the most this week? How about Miranda? The painting was beautiful.
The way it gets darker towards the tips, gorgeous.
Technically speaking, that is the most beautiful makeup on this stage, but it's not recognizable as lust.
She seemed prude for a lusty demon.
Yeah.
All right, let's move on to Tate.
I dig Tate's makeup.
I think it's creepy.
I love the coloring on it.
He did a really good job embodying sloth.
- It was incredibly clever.
- Yeah.
It's just a huge success in terms of telling the story and fulfilling the challenge parameters.
Okay, let's talk about the looks you like the least.
Let's start with Frank.
Frank used the expression "Low-hanging fruit.
" It felt like the fruit was on the ground.
There was no gluttony inspiration behind it.
He didn't have the little, tweaky thing that would have made it cool.
There's no connection of the actual gravity pulling on his flesh, so it looks like a stuck-on piece.
And what about Roy? The key to his version of pride is plastic surgery gone wrong, but he didn't pull any of it.
He didn't yank her eyebrows back.
- Yeah.
- You know, all the things that you would do to tell that story are absent in the makeup, so it's just a zombie makeup with stitches glued to it.
Yeah, and they're not even glued to it.
- They're painted on.
- Oh, even worse.
- And the paint job was so bad.
- Yeah.
Lot of bad decisions by Roy this week.
So judges, have you made your decisions? We have.
Okay, let's bring them back out.
Glenn, tell us about the top looks.
Miranda, we really appreciate all of the intricate detail in your head sculpt, and you delivered an outstanding paint job.
Tate, your character hit on many, many levels for us this week, from your high concept to the way that it was executed.
It all worked really well.
So who is the winner of this challenge? Tonight's winner is So who is the winner of this challenge? Tonight's winner is Tate.
Wow.
Thank you very much, guys.
This challenge seemed like it was a perfect fit for you, and it was really obvious that you listened to what I asked for.
Well done.
Thank you.
I appreciate it.
I did exactly what I wanted to do in this.
I didn't hold anything back, so it's extremely rewarding that I was able to pull together something that the judges liked.
Tate, congratulations.
You and Miranda can head back to the makeup room.
- Thanks.
- Thank you, guys.
Unfortunately, that means the two of you are on the bottom this week, and one of you will be eliminated.
Please step forward, guys.
Glenn, tell us about the bottom looks.
Frank, we had significant problems with the shape of the face and the chin and found the character lacking overall in terms of concept.
Roy, despite looking okay from afar, up close, the sculpting, blending, and paint job on your character this week were all really rough.
So who is going home tonight? The person going home tonight is Frank.
You did an absolute ton of work, but we could not get past the sculptural and creative choices that you made this week.
I'm sorry, man.
Frank, I am so sorry, but you have been eliminated.
Roy, you are safe this week.
If you'd please head back to the makeup room.
Okay.
Frankie, I couldn't be prouder of all the stuff that you've done on the show this season, and you're gonna go on to do great things.
Frank, it's been great having you here with us, and if you'd please head back to the makeup room and pack up your kit.
- Good luck.
- Thank you, Frank.
I would rather go out on a big, crazy, technical, awesome makeup than go out on some big, giant mistake, and I didn't make a big, giant mistake.
I made a big, giant, crazy makeup.
- I'm out, bitches! - What? I'm proud of the fact that I helped a lot of people out this season.
Hey, no, don't.
Get out of here! No! Hopefully, this time people see the real me instead of me goofing around like I did the first time I was on Face Off.
I'm proud of a lot of the work that I've done.
I pushed myself as an artist and I got to make some really crazy things, so it's been a lot of fun.