Face Off (2011) s05e12 Episode Script

Previously on Face Off Tate's dark elf brought him his fourth win.
- Really smart decision.
- Thank you so much.
And Laney left the competition, resulting in a shocking twist.
No one is going home tonight.
Now only four artists remain.
And tonight, they'll soar to new heights for a shot at the finale.
No way.
This is the most pressure I've felt because I want to win this competition.
And some artists' hopes will be shattered.
Oh, no, no, no, no! I can't believe this is happening.
I realize I'm biting off way more than I can chew.
This could definitely be a train wreck.
This is a bad time to be phoning it in.
I am astonished.
You absolutely amaze me.
In the end, one will win a VIP trip from Kryolan Professional Makeup 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.
How are you today? - Still here.
- Yeah.
- That was brutal last night.
- Oh, my gosh.
The last spotlight challenge, the judges were very harsh.
We've got one more chance.
I mean, there's three spots and four people.
The top four is where I made it in season three before I got eliminated.
Even though there are three other talented people here, that's not happening again.
I'm making it all the way through this time.
I have no intention of giving up no matter what I have to do.
We roll up to the Burbank airport, and everyone is very aware that this challenge right here, this is what determines who makes it to the finale.
So we're all very much on edge.
Hey, guys.
Hey.
Welcome to your last spotlight challenge before the finale.
Throughout history, humankind has been fascinated with flight, and we've seen it portrayed in creatures from all types of film, from the Wizard Of Oz's flying monkeys to the harpies in Clash Of The Titans.
And before I tell you more about your challenge, I want to introduce you to a special guest.
He's the expert host of Animal Planet's Savaged and Into The Pride.
Please give a warm welcome for Dave Salmoni.
- Hi, Dave.
- How are ya? - Hi.
Good to see you.
- Nice to see you.
So who is this little guy? This is an umbrella cockatoo from Indonesia.
- Can I? - Want to try to hold him? Oh, yeah.
Nicely done.
Put your elbow in a little bit.
There you go.
Please don't bite me.
Oh, she thinks it's funny.
That's the best thing about these guys, is the fact that they are such good pets.
And it's also the worst for them as a species because they've been getting stolen out of the wild.
Hi.
The reason they're so liked as pets, it's one of the only kind of birds - Hi.
- That like to be snuggled.
- Really? - Yeah.
Okay, let's go back to Dave now.
- All right.
- Thank you.
As you may have guessed by now, birds and flight are the basis for your spotlight challenge.
Awesome.
This is a silvery-cheeked hornbill.
Aw.
You find them in East Africa.
This is an Egyptian vulture.
His eyes are designed to see carcasses a mile away.
Wow.
This is a blue-throated macaw.
Their beak is so dexterous that they can actually take a grape and just peel the skin off.
No way.
I'm excited because I have an affinity for animals and birds, and anything nature-related I like to sculpt.
So this is interesting to me.
This guy's a Chilean flamingo.
And they get their pink color from their food.
Plankton, algae, crustaceans, shrimp.
And that's what causes the coloring.
There's a pigment in there that makes 'em this color.
All the birds are so cool looking.
I love animals, so I'm excited.
For this spotlight challenge, you will each select one of these birds as an inspiration for your very own human-bird hybrid.
- Wow.
- Okay.
- Oh, cool, okay.
- All right.
Birds are not a very easy makeup to do 'cause most birds are covered with feathers, and you can't sculpt feathers.
You have to sculpt everything that's under the feather, and then figure out how to lay it on top of it.
That's a tall order.
All right, let's choose your birds.
Laura, you're first.
I'll go with the umbrella cockatoo.
- Tate? - Egyptian vulture.
I've always wanted to do a vulture creature.
It would be a really interesting sculpt.
Roy, you're up.
I'm gonna go with the macaw.
- And Miranda.
- The silver-cheeked hornbill.
All right, it's time for you guys to spend a little time with your birds and start working on your designs.
Dave here will be coming around to tell you more about your birds and answer any questions that you might have.
I'll see you guys later back at the lab.
- Bye.
- Thank you, guys.
You can see he's not posturing to be friendly.
- He's posturing to bite.
- Oh, yeah, I see that.
We start doing our sketches, and Dave tells us a little bit about each of the birds, which is very helpful.
I notice that the bottom beak goes up into the top one.
It fits in underneath the sort of overbite that they have.
It helps 'em manipulate what they're eating.
The blue-throat is the most rare of all the macaws.
My idea is to make this a military bird that does surveillance in the jungles.
If you have a frickin' bird-human hybrid, it's got to be a government experiment.
And since this is gonna be a human-sized bird, it's got to have full, long realistic wings.
So this is gonna be a very difficult challenge.
Beautiful bird.
He really is.
- I'm really happy to have him.
- All right.
Yeah.
He's making me show you his big puffy head.
- Hi.
- Yeah.
See the yellow underneath here? Yeah.
I was also gonna ask, do they molt? Do they lose feathers? They do have a molting time, and, you know, look a little rugged.
Dave tells me a lot of very good stuff about the cockatoo.
For one, males have blue around their eyes.
Secondly, they get to a very ripe, old age.
So my concept is an older bird who's been molting and even balding.
It's not just a bird makeup, but it's an old-age makeup too.
It is supposed to be a bird-human hybrid, and there's always a fine line, like should you go more human with it? Should you go more bird with it? And I feel like my bird needs that human quality.
The most unique thing is that big cask on the top of their head.
You see how the front of it's kind of all bashed up? That's really typical.
They smash that thing on everything.
So they always look all beat up.
They're all very unique.
This was actually one of the birds that I was instantly attracted to at first when they came out.
When you start thinking about translating it into a makeup, it gets a little tougher because I have to incorporate this bird's big cask, and also his features don't lend to a human face at all.
And I think it'll be a challenge to get a human face to look like this particular bird.
This is one of my favorites.
I'm a real vulture lover.
I'm a big fan as well.
The thing that's unique to them is that sharp beak.
Vultures' beaks aren't typically that hooked, sharp feature, so that's very Egyptian vulture.
I really want to focus on having that hooked bill, as well as the crest, which is very noticeable.
So I know early on I got a lot to do.
Day one in the lab, we only have 5 1/2 hours to work.
I start sculpting this giant full head, chest, back, and arms.
I know the judges are going to be expecting something fantastic, and I want to give them that.
It's a huge piece, and I have to build it out bulky because I want to actually take real turkey features and push them into the foam.
This is the most pressure I've felt because I'm one challenge away from being in the finale again.
My creature is going to need a cowl, a facial appliance, and a foot.
All of my pieces are going to be run out of foam, except the foot is gonna be out of poly foam.
The goal today is to have everything blocked out and partially detailed, so by tomorrow, I can run straight into the molding room.
- Wow.
- Yeah, I know.
It's gonna be a big one.
Tate has this design, which is just humongous.
I wouldn't be able to pull that off that quickly.
I'm really hoping that I can manage my time a little bit better this week.
I don't want to put forward another thing that just looks incomplete.
So this isn't gonna be an overly-complicated character.
I'm just going to sculpt one full face and neck appliance and fabricate feathers into a wig to give it the same kind of silhouette the bird has.
I've got a lot to do today.
I want to get as much of the fabrication out of the way that I can.
I want to definitely get the feathers knocked out of the way first, and so I take the L200 and get my feathers cut out, get 'em sanded down real quick.
The first time I did wings, it took me 2 1/2 weeks to just make the feathers.
This time, I got less than 20 hours to make the entire thing.
So I'm working on my giant sculpture, and it's getting bigger and bigger.
And then I realize, it's way too big.
I'm thinking that there's not enough time to mold and paint this massive piece.
I've probably got 200 pounds of clay on this mannequin, and I still have hands and feet and everything else to make.
So I'm biting off way more than I can chew.
In this competition, you can go big, but you have to finish your work or the judges will send you home.
Suddenly, I could feel my heart beating, and I'm thinking, "I've screwed up.
" This could definitely be a train wreck.
Coming up Oh, no, no, no, no! I can't believe this is happening.
I had such problems with this.
You absolutely amaze me.
This is a huge amount of work to even attempt.
Day one in the lab, I'm starting to look at my creature and be like, "Holy crap! I'm biting off way more than I can chew.
" It's a ridiculous amount of work, and I'm definitely taking some risks, but I didn't come here to quit.
Season one, I was a finalist, and I want to relive that, and I want to win this competition.
But I've got to focus on this challenge first.
Hey, guys, here for a walkthrough.
- Hey.
- Hey, guys.
Hey, Miranda.
Tell us about your human-bird hybrid.
I'm doing the silvery-cheeked hornbill.
I'm gonna take a wig, and then lay the feathers into it, rather than sculpting a cowl.
I really want to make sure I can finesse my sculpture this week, 'cause last week, I did something that I really wasn't proud of.
So I want to redeem myself.
Good.
- Hey, Tate.
- Hey, what's going on, guys? - How are you? - So yeah.
Okay, tell us about your human-bird hybrid.
Well, my bird is the Egyptian vulture.
I want to have the bottom jaw where it sits under the bottom jaw of the actor so the mouth can move.
When you finally get this out in latex, vacuform a little plastic cup, and glue that inside here.
- Like a little chin piece.
- So a chin piece.
And so when you open the face, it literally-- you get pressure from the entire thing.
And it would cause all of this to-- - Right.
- That's genius.
Thank you.
- Hey, Roy.
- Hello.
Good to see you.
I chose the blue-throat macaw.
My idea is a military bird that an army uses for surveillance.
The last time I was on the show, I came up with an idea of making wings.
I never got to make 'em on the show, so it's like, "Great.
I get to make wings now.
" And it's taking the EVA foam, and you cut 'em out, and you layer 'em almost like - Oh, wow.
- an accordion.
So you actually spread it with your arm, - and they look fantastic.
- Oh, cool.
Then how are you going to attach them? The actor actually wears it like a jacket.
- Very good.
- Well, thank you.
Well, I got the umbrella cockatoo.
These birds can get very old.
Like, they can get to, like, 60 or 70.
And I thought it might be cool to have an older bird.
Now, since your bird is primarily white, it needs a break of color to create a little contrast.
Mm-hmm.
How are you going to incorporate-- Are you gonna add colors in? You add feathers to it or white feathers - Well, the skin is - totally or-- gray, and then around the eye will be blue.
And then there's yellow right under the wings.
- Very good.
- All right, I can't wait.
- Good luck, Laura.
- This is a fun one.
Thank you.
I wasn't originally gonna add a lot of bright color, but Mr.
Westmore encourages me to punch out those blues, and punch out those yellows.
And now I feel more comfortable with that idea.
All right, guys.
Cannot wait to see this.
- Good luck.
- Yes, good luck.
- Thanks.
- Thank you.
- Thank you.
- Bye, guys.
After I get the feathers made, I got to get a core made to do my sculpture on.
So what I decide to do is take a poultry wire and shape out the form that I want to make.
Then I'm gonna cover that with plaster bandages and then do a layer of Ultracal on it.
This will definitely be a lot lighter than trying to do a big, you know, heavy core piece.
I'm in good shape at this point.
At the end of day one, I'm feeling like this is a lot of work.
I'm doing a face, and a cowl, and a foot, and I've got to fabricate two 4-foot wings for this, and on top of that, make incredible makeup.
That is nearly impossible to do.
Time, everybody.
Let's go.
There is no room for error tomorrow, and that terrifies me.
Day two, and we're in the lab for 9 1/2 hours today, and I got a lot to do and little time to do it in.
I got to get all this sculpture done.
I had the idea of getting a tongue depressor and notching out a little feather shape so I'm not sculpting out each individual feather.
So that's a little added bonus.
And so, yeah, it's going really quick.
I gave myself the first hour of the day to finish the Egyptian vulture sculpt, and then I have to go to the molding room.
This is a gigantic mold that will take up a lot of time.
So I just hope that I can keep up with the bar that I set for myself.
I'm sculpting the silvery-cheeked hornbill, and I feel like I have a lot to do.
And I know I'm taking a lot longer than I should be.
I finally have to pry myself away to get started on these hands.
And I get these blocked out and sculpted really quickly, and they look really good.
I go back to the detail on the face, and I'm really into this sculpture, and I just can't seem to stop.
The clock is ticking, and I don't want to end up in a place like I was last challenge, but I still have things that I feel need to be fixed.
And it's just very hard to put it down when you know that it could be so awesome.
Everybody is in that mold room but me, and so now I'm worried.
This could be bad.
This mold is the heart of the makeup, you know, of my piece, and I have to get this mold out.
I'm almost to the end of it, and I see out of the corner of my eye Oh, no, no, no, no! Ah! Fuck! What the fuck happened, man? It just slid.
My heart just sank because there goes my chances right out the window.
Do you have enough hard stone, do you think, that-- - Nope.
- No? It hasn't even set yet.
I can't believe this is happening.
I feel like my chances of being in the finale are shattered along with the bottom of this mold.
I don't know what I'm gonna do now.
I might as well go home and pack my bags right now.
Oh, no, no, no, no! Ah! It's day two, and I feel like my chances of being in the finale are shattered along with the bottom of this mold.
As crushing as this is, I can't give up on it.
I got to figure out some way to solve this issue.
I can at least pour the front half of it.
And if I have to, I can do the back of it with fun fur.
And if it isn't that bad, I can flip it over to do the other half.
The time is just slipping away.
And so I go ahead and make the front half of it, and I do it really quick.
- Just gonna roll it over.
- Roll it over? That's what we're gonna do.
Yep.
I get Tate to give me a hand to turn my mold over, and see what the damage is on the back half that fell.
This back half is just totally fucked.
Ah! Well, maybe not.
There's some cracks, and there's, you know, some pieces that have pulled up, but the detail's still there.
If I can take it and do a quick slap coat and then put some more burlap on it, I may be able to save it.
So I'm gonna grab my stuff, and I'm gonna go mold it.
Even though I'd like to keep detailing on it for probably a few more hours, as always, but it's time to get in the mold room.
My molds for this bird-human hybrid are done, and I have to start working on the cockatoo's wings.
I have to cut out every wing individually, and there's at least eight feathers per wing.
Then I have to sand each feather.
And it just taking way more time than I thought it would take.
It's only halfway done, so it doesn't look good at all, and that worries me.
Ugh! It's nerve-wracking.
Extremely nerve-wracking.
My mold is setting, and now I really want to make the beak move, because I've gotten some crap in the past from Glenn for making static stuff.
So I vacuform the beaks to make them light enough to move.
Mr.
Westmore gave me some really good advice about getting the beak to move.
So I'm making a vacuform chin piece just to give it infrastructure, something for the foam to push against.
Just hold together a little bit longer.
If I don't get the mold open, I might as well give up.
Come on, don't break on me.
And so I start taking and start putting the pry bars in the pry points, I start trying to get it up, and it's starting to crack.
Come on.
I normally wouldn't do anything close to this stupid as far as making a mold, but, you know, desperate times calls for desperate measures, and I'm desperate.
I finally get it popped open, and, you know, there's cracks in it, but I'll make that work.
There we go.
That's what I'm talking about.
- Whoo! Thank you, guys.
- No problem.
I've been trying the best I can to salvage this makeup.
There's literally just duct tape and pins holding this thing together.
I still got a lot to do tomorrow.
It's gonna be a long five hours.
Because I spent so much time sculpting, I'm really behind on everything else that I need to get done.
And of course, I'm having trouble with my face mold.
Can you help me open this, Laura? Oh, never mind.
I got it.
Thank you.
I finally get it popped.
I run out to go clean it, and there's like three minutes left.
Oh, my God.
That's time.
Let's get out of here.
I'm able to get my face baking in foam latex, but I couldn't get the hands ready.
So I'm going to have to use standard latex, which sucks because they're not gonna move as well, and they're not gonna be the same shape like I sculpted them.
I just hope that everything comes together tomorrow.
- Holy crap! - Oh, good.
Yeah, Roy! Yay! It's application day.
We've got four hours in the lab.
At least I have something to work with.
It's rough looking.
There's all these seams everywhere, but I'm gonna make this work.
I'm making some slush latex blenders to take and cover up bad parts.
I'm not giving up on this one.
My bird will be onstage, and it will be complete.
- What's up? - How you doing, man? I'm Tate.
And by the end of the day, you're gonna be a blue-throat macaw.
All right, let's see here.
The first thing I need to do is open the mold that I didn't finish on day two.
If it doesn't work, then I'll have to go to plan B, which is using the performer's actual feet, but I don't want to do that.
Amazingly, it's okay.
I have two feet.
Yay! There's a lot more to do than I think I realized.
I still have to lay all these feathers onto the wig, then move onto the hands.
I have to finish painting the entire piece.
But, you know, I put myself in this position, and I'm paying for it.
Everybody has these giant things going on, and I only have a face and hands.
I just hope it's gonna be enough to make it to this finale.
Yep.
That one's good.
My foam piece, it's perfect.
I'm able to get it on him, but the one problem is the model's head is much smaller than the mannequin's head was.
Okay.
There's a lot of room and wobble in there, which makes me worry about getting the jaws moving.
Okay, we're gonna do it the old-fashioned way.
Stuff it full of shit.
So I grab a fistful of pantyhose, and I start stuffing pantyhose around his head and neck.
It does misshape the head a bit from the sculpt, which definitely makes me worry.
I'm looking around, and Laura's applying this full bird head, and Tate's just looks fantastic, and Miranda's got this beautiful piece that she sculpted.
And me, I've got nothing out.
I've still got to put the suit on her, get her cowl on, get the rest of her face painted, get the bottom beak on.
- Time? - 8 1/2 minutes.
For last looks, I've got everything to do.
That's time, everybody! I have an hour to make the finale or go home.
I'm going into last looks on a wing and a prayer.
Coming up I am so frantic.
I can't even focus.
Shit.
I've got to make it to top three.
I need that second chance.
I absolutely adore the ambition.
I think that you're playing it kinda safe.
Okay.
Last looks, it's gonna be a really short hour.
I got to fix that too.
Damn it.
I'm gonna have to pull out every trick that I know.
I get the head put on her, and get her beak on, and then start finishing up my paint work.
I might need to spray your nose.
For me, a good needs to be focused on the details.
First, I airbrush all the blue around the eyes.
And my cockatoo has fun-looking feet.
I airbrush the cracks all white.
And I'm going back in with black to pop out all the individual scales.
Come on.
Damn airbrush keeps clogging.
This hour is crucial to me.
I have to get the wardrobe situated.
I got to get the hands on, and I have lots of detail painting to do, with stencils.
I want to put little patterns all over it, as well as on the feathers, 'cause right now they're just stark white turkey feathers.
So lots of pressure.
- 30 minutes.
- Holy shit.
Do you think you could try to paint your hands? Thank you.
I am at that point where I am so frantic, I can't even focus anymore.
Shit.
I have to finish painting the entire piece.
Okay, let's get this wig on you.
I have to lay all these feathers to blend the hair and the wings.
Stand up, and just keep pushing these down if they start peeling up.
There's just too much to do and so little time.
Your hair is just killing me.
Time! Oh, God.
It looks so ridiculous.
No, it looks good, man.
I'm not really happy with the paint job just because the colors don't match.
After looking at the other pieces, I'm not feeling confident at all now.
Welcome to the Face Off reveal stage.
Tonight, one of you will be eliminated and three of you will be moving on to our finale.
First, let's say hello to our judges.
Owner of Optic Nerve Makeup Effect Studio, Glenn Hetrick.
- Good evening.
- Hi.
Three-time Oscar-winning makeup artist Ve Neill.
Hi, everybody.
- Hey.
- Hey, Ve.
Creature and concept designer Neville Page.
Hello.
- Hey, Neville.
- Hey, Neville.
This week, your spotlight challenge was to choose one of the birds Dave Salmoni presented to you and use it as an inspiration for a human-bird hybrid.
So let's take a look at them while the audience at home tweets about their favorites using #FaceOff.
First up is Miranda's creation.
My character's really striking onstage, but it really is just up to the judges at this point.
There will only be three in the finale, and I hope that I'm one of them.
I'm extremely happy with it.
I've done all I can do at this point, so I hope the judges see how bad I want to be in the final three.
I want to make it to the finale, and I think my creature looks amazing, and hopefully, the judges like it.
I've got to make it to the top three.
There's no option.
I need that second chance.
Judges, why don't you take a closer look.
_ _ Oh, man, she's looking at the hands.
You won't be doing much flying with those wings.
No.
She's got an eye for symmetry.
It really is just one color, I mean, other than a little bit of delineation there on the top.
Such an opportunity.
You've got all these planes to color on.
The judges don't look very impressed.
I'm getting pretty scared at this point that I'm not gonna get a spot in the finale.
Thanks.
It's confusing.
He could have minimalized this white area.
If you're gonna do these squiggly black lines, why not do it right over that eye seam? - Yeah, I know.
- Yeah.
I'm looking at the judges, and I'm not liking what I'm seeing.
The lines on the face look like crap.
It's just the black, squiggly lines, really.
Just that one thing.
I'm almost, you know, sure that I'm going home.
We want to know what you think of tonight's transformations.
Tell us on Twitter using #FaceOff.
If you're gonna do these squiggly black lines, why not do it right over that eye seam? - Yeah, I know.
- Yeah.
I'm looking at the judges and I'm not feeling confident.
I just don't see myself being in the final three.
Look at the amount of detailed paint on this thing.
It's unreal.
He's got those feathers in everywhere.
This is exactly how the feathers - should have been handled.
- Yeah.
Thanks.
I do like the paint job.
This is kinda cool.
This real subtle stuff here with his eye.
I want you to emote more.
Show me angry, show me scared.
- There's a lot of character.
- Yeah.
Still has all these bird aspects, but we definitely get a human character through the makeup.
- Mm-hmm.
- Thank you.
Okay, the judges would like to speak with each of you to learn more about your work.
Laura, please step up.
Tell us about your bird creation this week.
The bird that I chose was the umbrella cockatoo.
They can get to a very old age, so I decided to do the elderly but lovable pet.
And he's obviously molting and losing quite a bit of feathers.
You have captured the essence of the human-bird hybrid idea.
I think the face is really quite wonderful.
It has so much character.
Thank you.
I especially like some of the coloring around the eyes, which is what the bird looks like.
That's really a nice touch.
I would, however, like to have seen more feathers on his head, 'cause he almost looks like a bald eagle that has no hair on his head and feathers everywhere else.
I had such problems with this, but having mentioned the molting thing, I totally get it.
It actually ties it all together.
I like it now.
Thank you.
Laura, please step back.
Good job, girl.
Miranda, please step forward.
Can you tell us what bird you got, and how you went about creating your little creature here? I got the silvery-cheeked hornbill, which was a bird I had never seen before.
It had a lot of really interesting characteristics.
I really wanted to try to make it look as much like the bird as I could.
It's a beautiful sculpt, honey.
You did a beautiful job sculpting the head.
It's beautiful and symmetrical, like all your sculpts are, but you didn't sculpt any indentations to show that maybe that's where those feathers are coming out, so it just looks like somebody just-- whoosh-- stuck 'em on there.
Other than that, well done.
The sculpture is beautifully handled.
You got in there with some really, really nice detail.
I do appreciate that.
However, that's a really monotone paint job.
Very, very basic.
This is a bad time to be phoning it in and ending up in the safe zone.
I mean, the challenge was so much bigger than that.
I do love a lot of what's happening in the face, but it does feel like something's been stuck on the outside of his guy arms.
But I think you're a brilliant sculptor and designer, and that really helps you in this particular challenge.
Miranda, please step back.
Tate, let's talk to you.
So tell us about your bird.
I chose the Egyptian vulture.
It's just a bird that I resonated with.
Also really like the scavenger aspect, and wanted to play with it and see where it took me.
I think it took you to a pretty cool place.
Cool.
Head to toe, this is an incredible amount of work.
It was hard.
Yeah.
I am astonished.
Nice stuff.
Good going.
I appreciate it.
Thank you, Neville.
The best thing that you've done is you made a very clear decision to utilize a theatrical approach to the way the feathers are placed, that whole treatment of the way this thing is going to work.
That's extremely intelligent.
Thank you very much.
The only thing that really bothered me about this is it's a little muddy.
You have so many really great sculptural things going on, like those bony shoulders.
It would have really been neat to see some of these things from afar, you know, not having to get up close.
But dang, you really did a lot.
It's freaky.
Nice.
Thank you very much.
- Tate, please step back.
- Appreciate it, bud.
Roy, you're next.
Tell us about how you decided to tackle this challenge.
Well, I got the blue-throat macaw.
I just wanted to make it as realistic as possible.
And I think if you have birds that are human size that fly around, they would definitely be military.
I absolutely adore and applaud the level of ambition.
It's a huge amount of work to even attempt.
I think you've got a really nice profile on the head.
I'm really digging the shapes that you have going on there.
You have this white area in here with some pretty bad paint going on in there, but dang, you did a lot of work.
You absolutely amaze me with your fabricating skills.
I love the choice of the contact lenses.
Somehow, those eyes do work for me.
Not just the contact lenses, but that whole region is pretty cool.
The amount of work you've put into this is impressive.
Thank you.
Roy, please step back.
- Good job, brother.
- Thank you.
All right, guys, the judges have heard what you have to say.
If you'd please head back to the makeup room while they decide who will move on to the finale.
- Thank you.
- Thank you, guys.
All right, judges, why don't we talk about tonight's looks.
Let's start with Laura.
I really liked the character makeup that she came up with.
I love the approach to the face.
What does not work is that big, furry suit.
I thought she did a really nice job with the paint job.
I appreciated the fact that she was trying to integrate human qualities into a bird.
She was actually the only person that bothered to even use any flesh tones at all.
I love that she's an intelligent designer.
She's really smart about her choices.
She's come back and outdone herself.
I think she was even stronger throughout this season.
All right, let's move on to Miranda.
We all agree that the sculpture this week is beautiful, as it often is with her.
She is really a phenomenal sculptor, and I think a great designer.
The face is beautiful, but it's just a face.
There's so little done anywhere else on the rest of the body.
I think she might have a problem with time management, 'cause she doesn't have that much experience.
Yeah, for sure.
But in my opinion, she's very talented.
Okay, let's move on to Tate.
The profile on that thing was amazing.
It is.
So brilliant to approach the feathers that way.
Even the muscle forms are a hybrid - Yeah.
- of human and bird anatomy.
I think this is one of the best paint jobs I've seen of his.
All right, let's move on to Roy.
I don't love the choice to have done it all as a sculpt with latex.
I think it would be better with feathers, but week after week, Roy comes up with these gigantic ideas, and somehow manages to finish weeks of work in two days.
There were some moments in his head sculpt that I thought were really good.
- The overall form.
- Yes.
The silhouette was very good.
I don't think Roy is necessarily the best sculptor, but I've seen it getting better and better.
We have four really strong artists that have performed wonderfully, so we have to figure out which three we want to see more from.
Mm-hmm.
All right, judges, have you made your decisions? Yes.
Let's bring 'em back out.
All right, Glenn, who is the winner of this challenge and the first person to make it to the finale? The winner of tonight's challenge and the first person moving on to our finale this season is-- - All right, Glenn, who is the winner of this challenge and the first person to make it to the finale? The winner of tonight's challenge and the first person moving on to our finale this season is Tate.
Wow.
Thank you very much, guys.
Thank you.
Your ability to conceptualize combined with your high-caliber execution could not have come at a better time in this competition.
Congratulations.
Thank you, guys, very much.
Tate, congratulations.
Thank you.
I made it to the finale again.
I'm so excited.
I just got to make sure to be on my game.
All right, Glenn, who is the next person to make it to the finale? The second person that will be joining us in the finale this season is Laura.
Congratulations.
This is a great opportunity to have twice.
The decision to include age was indeed a good one, and you delivered another beautiful makeup in an already strong season for you.
- Thank you.
- Laura, congratulations.
I'm so grateful that I get another opportunity, but I'm gonna have to challenge myself in ways that I've never done before, and that frightens and terrifies me.
Well, we have two artists and only one spot left.
The top four is where I made it in season three, and I can't go home yet.
I'm really hoping that they call my name.
I really want this, and I think I deserve a spot in the finale.
So, Glenn, who gets the last spot in our finale? The third and final person that will be joining us in this season's finale is Roy.
Thank you.
Oh, thank you, guys.
We liked the overall form of your piece, and the profile of the head was very cool.
Once again, we marveled at the amount of work that you managed to get done.
- Thank you so much.
- Roy, congratulations.
You have our last finale spot.
Thank you.
He called my name.
Sorry.
It's one of the things that I wanted since I first got here, to make it to that point.
So-- so I made it.
Unfortunately, that means, Miranda, you'll be leaving us tonight.
Miranda, your sculpture was beautifully done, but we felt that you just played it way too safe when we were really looking to see just how badly everyone wanted to move onto the finale.
I just want to say thank you guys so much.
This second chance has meant more than I can even express.
Miranda, I'm sorry, but you have been eliminated.
It has been so great having you here with us.
Will you please head back to the makeup room and pack up your kit? Thank you, guys.
Thank you.
- Bye, Miranda.
- Bye.
The three of you have done incredibly well to get this far.
I will see you all soon for your final spotlight challenge.
You can all head back to the makeup room.
- Thank you all.
- Thank you, guys.
- Good night, guys.
- Thank you very much.
Thank you.
Whoo! Although I am upset, I'm just really proud of what I've done here.
Congratulations.
I've just learned so much, and I'm just so grateful to have made it this far.
You beat out 12 people.
It means a lot.
It really does.
And I feel like I won just getting to learn from you guys.
This experience has been so valuable to me because I've created some of the best makeups I've ever done in my life here.
I know that I have nowhere to go but up.
I believe that I can continue to grow as an artist, and I can't wait to see where I am five years from now.