Face Off (2011) s06e05 Episode Script

- I am thoroughly impressed.
- Beautiful sculpting work.
Rock and roll, Hoochie Koo.
Previously onFace Off Daran's elegant rock goddess brought him the win and Tess was sent home.
Now, 11 artists remain, and tonight, their creations will emerge from the shadows.
I'm scared.
That actually scared me.
For some, the challenge will be too dark to handle.
The nose definitely has to change.
It's little teddy bear, little Whoville.
Well, that's not good.
I don't want a cute demon.
I fully locked it.
I don't have anything but a face.
This is going to be the end of me.
The most important part of my makeup isn't there.
I dig it a lot.
It's creepy-licious.
I've never seen anything like it before.
I'm really kind of disappointed.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2014 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Face off! Welcome to Face Off.
Getting homesick can, like, just wipe you out, man.
Got to remember why we're here, though.
When I start feeling homesick or I-I feel like I miss my girlfriend or I miss my son, I really have to sit down and let myself know, they're the reason why I'm doing what I'm doing.
How do you feel about always being the bridesmaid? It's nice being a top look, you know, that the judges like what I have.
But it plays in my head, like, am I only good for just top looks? You know, am I good enough for a win? I've been top looks three times.
The judges know what I'm capable of doing, so I just need to keep bringing it on.
- All right, guys.
- Let's go! I don't know LA very well, but we're somewhere downtown Whoa, that's cool.
and there's all these warehouses.
We're like, "Where the hell are we going?" And then, we get to this doorway.
- Uh-oh.
- What the hell? It's spooky in here.
We walk into this big warehouse, and it's super dark and creepy - What the hell? - I'm scared.
Except for McKenzie.
- Hey, guys.
- Hi.
I brought you here to get you in the mood for this week's spotlight challenge.
In the world of supernatural cinema Yes.
films like Drag Me To Hell and Paranormal Activity-- they get a lot of mileage by teasing but not fully revealing the dark perpetrator.
I'd like to introduce you to someone who is an expert in this area.
He's produced films such as Insidious, The Lords Of Salem, and is the creator of the blockbuster Paranormal Activity franchise.
Nice.
Please welcome Oren Peli.
Oren has made the most outrageously crazy, creepy films.
So I'm really excited at this point.
Thank you so much for being here.
Oh, of course.
All right, now your films, they're really scary.
What is your secret? Well, I think a lot of it has to do with building up the audience's fear and anticipation.
Sometimes the scariest thing is not what you see right in front of you, but what's hidden in the shadows.
Whoa.
All of a sudden, these lights start to appear in the wall, like, different shadows.
And we're like, "Wait.
What is this?" That actually scared me.
Your spotlight challenge is to select one of these exaggerated silhouettes and create the supernatural entity that cast the shadow.
Whoa.
This is definitely going to be intense.
I'm really excited at this point.
Chloe, you're up first.
All right, and I'm excited to say that Oren will be joining us onstage this week.
What are you going to be looking for in their final makeups? Make sure that it's a full head-to-toe application and design.
The most important thing is that it elicits a natural reaction of fear.
All right, guys.
Get started on your designs.
When you're done, I want you to head back to the lab and get to work.
- Good luck.
- Thank you.
See you soon.
The silhouette is important in every challenge, but more than ever, this one is where you really have to knock it out of the park.
Right now, I'm just sketching kind of the outline that I have in my shadow.
There are a lot of pieces to this character that have to be on there to match the silhouette.
My concept is an angel of death that's been sent from hell to collect souls on Earth.
What scares me? Cockroaches.
So I start designing a boogeyman made out of bug parts.
The face is going to be, like, a balding, old man.
But instead of having a mouth, this creature has all these little legs with fingernails and teeth that are used to just capture and eat children.
Graham and I sat down together, right beneath our shadow.
We get two people that choose a shadow, so you're thinking, "All right, what's this person going to do?" I am going to use the back of this monster to my advantage and have a huge mouth come out of it, which can suck up your soul.
I am terrified of bugs, anything creepy and crawly.
This one reminds me of, like, a scorpion.
I really want to focus on the hump of the back.
It's going to be these little egg sacs, almost like it's the creature's entities coming out and coming to get you.
Ugh.
I'm really creeped out right now, just thinking about it.
I really hate insects, so I'm definitely going to play up the insect part of this character.
I'm going to be sculpting really, really big arm extensions with these huge praying mantis hands.
The shadow has this huge horn sticking out, right from the face, so I really want to keep that so that it looks like the shadow.
Well, I chose this shadow here.
The first thing you notice are these huge horns coming out of the head.
So my concept is a female seductive faun that lives in this warehouse and causes problems.
She likes to cause mischief.
I'm looking at the shadow, and I'm thinking ancient demon.
I want his horns to be so big that they grow through his body and poke out the front.
The rest of him will be very slender with spindly limbs.
I picked this one.
I'm doing a creature that was a man who was deemed to hell.
Satan turned him into this goat deity.
He goes around skinning people and trying to wear their skin to gain back his manhood.
He's going to be skeletal with pieces of flesh nailed on him.
And he's going to have giant, oversized horns.
I'm excited.
All right, guys.
Let's head back to the lab.
Drop those pencils.
We have six hours at the lab today.
Here we go, here we go.
No time.
- Let's go.
- We choose our models.
The first thing I need to do is start the face.
In my silhouette, there's a very pointed nose and chin.
My concept is a goblin that creeps around at night and attacks people.
How does this look? That looks like a bull.
I chose the same shadow as Chloe, so I decided to make this scary minotaur that hunts the hunters that attacks him.
_ I'm trying to make this head a little bit bigger, so I wanted to incorporate fake eyes.
It's going to be a tricky one, but I know I can pull it off.
- What are you doing there? - I'm doing a demon.
Still a long ways to go.
I'm making this demon that rips flesh out of her victims and eats them alive.
I'm concentrating on the face and the cowl and getting them sculpted and molded by the end of the day.
Hey, guys.
- We're here to check on you.
- How are you? - Hi.
- Ready? The character is going through necrosis, so his skin is very pale, and it's got of lot of that blood where it's just pooled and turned purple and blackish.
Mm-hmm.
I would paint him first and then do - the rest of your skin texture - Right.
so you see depth and translucency.
- Great.
- I had teeth here, right? Should I put 'em in the outside, or-- It's kind of tricky to make it look like - they haven't been glued on.
- Okay.
They could use their own teeth but dirty them down.
Put a little food dye in karo syrup and water.
Okay, cool.
So in the middle of the night, this thing unleashes these little creepy-crawlies that come out of its back.
I would love to do little hints of maybe yellow or white, just to make it pop.
I'd go with a stencil, as opposed to trying to go in - and do things with a brush - Okay.
which could get muddy or really not read well.
This is awfully far apart for your model to see.
Make sure you dig it out underneath here - when you're making your mold.
- Okay.
But they may have to do a little bit of this - Right.
- to be able to see.
So that's the shadow that I picked, and this is my face sculpture.
You're gonna try to cover the whole face with fur or just come around the edges with it? Yeah, just kind of, like, around here.
Mm-hmm.
It's going to save you time on painting.
This is actually still horn, and then it'll go back to the cowl, and then the horns will come out at the front.
That's an interesting idea, but I think the nose definitely has to change a little bit, because it's little teddy bear, little Whoville.
It's reading almost sweet or cute.
Well, that's not good.
I don't want a cute demon.
It needs a nose that's meaner, stronger.
By adding more to the nose and giving it a mouthful - of piranha teeth or something-- - Right.
That's what you want this character to do.
- Thank you so much.
- Thank you.
All right, guys, we're heading out.
But it's looking really good.
- Good luck.
- Good luck, guys.
- Bye.
- Bye.
I'm sweating bullets at this point 'cause time's just flying by.
I have to get these molded and cleaned before the day is out.
Resculpting the nose is going to take a long time.
But if my creature's not even scary, it could be my ass.
- Coming up - I'm in a sketchy place.
I fully locked it.
Shit.
I still have to mold the cowl, and I don't know if I'm going to finish this.
You've got some serious issues.
This is really a beautiful piece.
It's day one of our shadow challenge, and given Mr.
Westmore's advice, I'm resculpting the nose, making it larger and not as tiny and cute.
It's really eating up into my time, but I think it's worth it, because Oren Peli said our creatures need to be frightening.
Finally, my sculpture is completed.
And I immediately start molding faster than I've ever molded before, since I only have one hour left.
- That's what you gotta do? - Yeah.
You know, just everything.
Just everything in general.
Mold face, mold cowl, sculpt chest, mold chest.
- Make arms.
- Make arms, make other arms.
Make some feet.
I'm not the fastest sculptor.
But when you're trying to force bug legs into the jaw and neck anatomy you need to take a lot of time.
That really has to be done well, in order for it to read in the correct manner.
I hate cockroaches.
I hate them.
From the shadow, you could only see the four horns, the main horns.
But I want to make ten horns because I want a great profile.
I decided to go with styrofoam.
It's easy to shape, and it's lightweight, so you don't have the actor tipping over.
I'm feeling great.
I have more work to do, but I'm in a great place.
You got 33 minutes.
At the end of the day, I only have my face sculpted, but the focal point of my makeup is going to be these big arm extensions that look like praying mantis arms.
I'm just starting to sculpt them now.
Time's up, everybody! - Let's go do some barbecuing.
- I've got a lot to do tomorrow, and I'm just a nervous wreck.
Let's go.
It's day two of our supernatural challenge.
Back to sculpting, ladies and gentlemen.
We have 9 1/2 hours in the lab.
Already having my face run in foam, I have to finish my cowl, do my rib piece, and I have to finish sculpting all 10 horns.
It's a lot of work to do by myself This still has to be shaved down.
but I know I'm going to get it done.
- Keeping the neck open, right? - Yep.
Thanks.
All righty then.
Yep, that is awesome.
Let's mold you.
All I got to do is finish a face, mold that, make a vest, mold that, make some extra arms, open up the molds, clean those out.
So you know, simple day.
I use a air hose to get the plaster into each nook and cranny, because if it's not molded right, you won't see all the work that you did after sculpting something so detailed.
I've got to make a supernatural mouth here on the back of this carrier.
So I'm slapping on the wet clay as fast as I can and get the forms blocked out.
And it's kind of fishy-looking, supernatural-looking.
Definitely not human-looking.
The horns are a very integral part of my creature because they set up the whole silhouette.
And I need to make sure that my design does ultimately stay true to the silhouette that I picked.
Yeah, that looks about right.
- Looks about right? - Mm-hmm.
Okay, cool.
I also need to get this cowl sculpted.
It needs to have enough bulk on it that I can attach these horns and they would stay on.
That's going to look so epic.
- What's your concept? - It's a goblin.
While I'm sculpting the cowl, I'm trying to make sure that the ears are really long and pointed.
As I finish the sculpt, I bring it over to the light station that's been set up, so we can check the silhouette of our character.
I'm feeling pretty confident because it's the exact shapes I'm seeing in my silhouette.
I want to make an insect that not only is scary, but also creeps me out.
So the back has six inserts where these egg sacs are going to be.
I am vacuforming spheres, and I plan to get scorpions and incorporating them into the egg sacs, making them look like they're embedded inside them.
I need to finish the hands, so I can vacuform them.
But I'm noticing that they're a little bit too big.
- Cat? - Yeah? If I-- This I can vacuform.
You'd have to just sculpt this separately.
Instead of fabricating the hooves, I just decided to sculpt them.
- This is a-done.
- It's looking good.
I have my face, chest, cowl, and the two hands.
Molding time.
He's going to be making molds the rest of the day.
Time is running out, and I can't open my mold.
There is just a lot wrong with it.
I'm in a sketchy place right now.
I don't have anything but a face at this point.
I'm questioning the fact that I spent so much time and effort making this cowl.
I'm really scared.
Shit.
I can't do this.
Shit.
I can't do this.
It's day two of our supernatural challenge.
Time is running out.
I can't even open my mold.
I'm really scared, and I know that the only way to save my molding mistakes is to walk away from it.
In this situation we have to think quick, so plan B is to take a wig to create the skull shape that I'm looking for while using premade ear appliances to get the silhouette that I need.
I only have a face.
I have a face and a wig.
And I'm sure that's going to get me in trouble.
As I'm going forward with making this whole cup-horn idea, there's a lot of fabricating, and I'm already so invested in this process that I can't change it at this point.
I'm really starting to worry that since they're so huge, there's really no way for me to know if it's going to work until the very end.
And that could go really bad.
I'd glue both sides down.
You'd be a-okay.
- We'll see.
- We'll-- I want to create arm extensions that look like scorpion claws or even praying mantis hands.
so I take L200, which is a type of foam that can be cut, manipulated, heated, bent so that it can make really quick, fabricated pieces.
So I use it to fabricate the hands, and I paint them the best I can.
- Almost-- There we go.
- It's working.
I'm running out of time at the end of the day.
I need to get this arm molded so that tomorrow I can run it in poly foam.
I still have to mold the cowl, so I'm trying to go as fast as I can, but I don't know if I'm going to be able to finish this.
How many minutes time? Oh, my God.
I hope this shit opens tomorrow.
So Niko and I are running around the mold room like crazy people, just trying to get these molds done, and Tyler runs in there and really helps me out.
We got it, we got it, we got it, we got this.
We get it done, but Niko still has to finish his cowl.
Put some here, put some here.
Okay.
Done? Yes, yes.
- That's time, everybody.
- Look.
We did it! - Whoo! - Nice, nice.
Thank you, thank you.
We finished it.
At the end of the day, I feel pretty happy that I have everything done.
I know I have a lot of work to do tomorrow, and I'm worried that I can't make it all happen.
- Good luck, guys.
- Thank you, man.
Whoo! It's application day, and we've got four hours in the lab, one more hour at last looks, and I believe that's enough time to make this thing good and creepy.
- Corinne.
- Megan, nice to meet you.
You're like a goddess of pain.
Oh, my God.
You're scary.
My strategy today is to start the application immediately because there are so many elements to this character.
The dental appliance, the face, the cowl, everything laying over top of each other.
There is no room for error today.
Your character is very mischievous.
Let me get around you.
Time is ticking down.
I've got to get the back piece and the face piece on my model.
The back goes down perfect, and I'm loving it.
Cool.
I open my mold, and there's a huge seam.
It's going to take a long time to fix.
My model has no appliances on whatsoever, and I just decide, look, forget about these arms.
I need to worry about just getting my model applied and painted.
This is going to be the end of me.
I finish applying the cowl and face, and I realize that his arms and his chest are still just skin.
A little saran wrap to you.
So I start just gluing this plastic wrap all around my model to get a sort of wrinkly texture.
- Pretty weird, huh? - Yeah.
I've never done it before, so I don't know if it's going to work.
I look at him.
He's standing up.
And I'm like, "I'm doing, like, a really big makeup.
" This is, like, one of the biggest pieces that I have done and super, super fast, so I'm really impressed with myself.
I'm feeling a little bit nervous because everyone else has much bigger creatures, so I have to have a great paint job, in order to make this a great makeup, versus a simple makeup.
All right, everyone, that's 15 minutes.
_ _ I know it's missing the arms, which is a very important part of the makeup.
At least everything's applied, and he's got his base coat of paint.
All right, everybody, that's time! I think I can pull the paint together, but my model's not going to match the silhouette, so I'm really worried.
The most important part of my makeup isn't there.
Coming up These horns are just too damn heavy.
Shit.
There's still a lot of work needed to pull my creature together.
It's not a good feeling.
I dig it a lot.
It's creepy-licious.
I'm at a loss of words for this.
I didn't find it to be particularly scary.
We have one of the shortest hours in human history.
Turn around.
I just need to get these huge horns to attach that I don't know will work.
Will you hold this for me? I need to add all of his highlights and yellow accents.
There's still a lot of work needed to pull my creature together.
It's not a good feeling.
Hold still, buddy.
Hold still.
I'm trying to put the other two side horns on that I made.
I sort of get one in.
I'm gluing the hell out of it.
Please stay still.
The horns are just too damn heavy.
Shit.
It's just not working.
Damn it.
- 15 minutes left, everyone! - Uh-oh.
All right, everyone.
That's time.
- Brushes down.
- Fuck! I really screwed this one up.
Welcome to theFace Offreveal stage.
Tonight, one of you will be eliminated.
First, let's say hello to our talented panel of judges.
Owner of Optic Nerve Make-Up Effects Studio, Glenn Hetrick.
- Good evening.
- Good evening.
Three-time Oscar-winning makeup artist, Ve Neill.
Hi, everybody.
- Hello.
- Hey.
Creature and concept designer, Neville Page.
- Hi, guys.
- Neville.
And please welcome back writer, producer, and director, Oren Peli.
Hi, guys.
Good to see you again.
Looking forward to seeing your creations.
All right, guys, this week, your spotlight challenge was to select an exaggerated silhouette and create the supernatural entity that cast the shadow.
Let's take a look at your creations, while the audience at home tweets about their favorites using #FaceOff.
I'm loving it.
It looks impressive and-- and scary.
I love the fact the hair is covering the face, and the mouth is coming out of the back.
It's very dark, and you don't really know what it is.
I'm really excited.
This is a character that I really love, I had a lot of fun doing, and he looks great.
I'm really worried.
He's probably the weakest makeup this challenge.
I know I'm going to be on bottom.
This guy looks really big and really menacing.
I feel really proud of it.
She looks really creepy and sneaky, and I'm confident with the paint job and the success of the actual makeup.
She's rocking it.
The shadow shape, the bug quality to the whole character is really coming through, and I'm feeling pretty good.
I'm loving my horns.
I think they're scary.
I just hope Oren and the rest of the judges do because there are a lot of other makeups that are more intimidating than mine.
This thing looks so creepy.
If I'm not at top looks, I'm at least safe with this makeup, because if I think it's this badass, then the judges at least have to think it's cool.
This silhouette looks great.
It looks very similar to what I was given, but it also has a little bit of my own flair and style to it.
I know I'm up the old proverbial creek without a paddle because all the imperfections are staring me in the face.
I can't even look at it.
Judges, why don't you take a closer look at our supernatural entities? There's some really rad shapes going on in the horns.
It's my favorite part of this makeup.
It's really riffing off of the shadow.
Yeah, it's pretty cool.
Looks a little bit like a diseased homeless guy.
Please turn, so we can see your back, please.
Oh, yeah.
What is that thing? We have to ask.
I don't understand it.
- Can you open your mouth? - Yeah, let's see it.
Oh, yeah.
There we go.
I like the overall design, but it feels a little bit - like a mask.
- It does.
I don't understand the hard shapes.
Not very supernatural.
More like an alien-insect type thing.
I'm worried.
I see the judges pointing out problems.
I know they're not happy with it.
There's a good chance that I could be sent home.
Who made your favorite supernatural entity? Tell us on Twitter, using #FaceOff.
Turn your head sideways.
That's a cool silhouette.
That has nothing to do with the silhouette in here.
I know I'm going to be in the bottom.
I look at everybody else's, and he's not the strongest makeup.
Look at this brown iridescence floating around in here.
It's really nice.
This guy looks like he means business.
Like, if you see him in a dark alley, you're going to run the other way.
Great.
Great paint job.
Very, very, very nice patterns.
Thanks.
I'm not sure what's going on, - but it's cool.
- Yeah.
It's, like, half-human, half-whatever.
This on purpose? I think it ripped after he put it on, so he colored it in.
I'm going to try playing on the judges' mercy, like, "Please, I'm-- I'm much better than this.
" - It's not really scary.
- It's cute almost.
The judges have scored your creations.
Let's find out what they thought.
George, Tyler, Chloe, Rashaad, Matt Congratulations, you are all safe.
You can head back to the makeup room.
Thank you.
The rest of you were the best and the worst.
The judges will now speak with each of you to learn more about your work.
Graham, please step up.
Graham, tell us how you incorporated your shadow.
I tried to incorporate some of the things that creep me out, which are cockroaches, so I threw in some creepy bug parts, and this is what would really end up scaring me now.
I love it.
I love the sculpture of the face, particularly.
I dig it a lot.
It's creepy-licious.
Thank you.
You have a really great transitional area in the sternum.
It's done so well.
Thank you.
It definitely implies something very off-putting, so that's a gorgeous part of this.
- Great work.
- Thank you.
Whatever this thing is, I've never seen anything like it before, so it's very cool and creepy and original design.
Thank you very much.
- Graham, please step back.
- Awesome.
- Good job, dude.
- Daran.
Tell us about your concept and how you incorporated your silhouette.
I saw the shadow as a demon.
I wanted to keep my focus on the back as a mouth for the hump.
And this mouth will swallow your soul.
Turn your character around.
That does not look like a mouth at all.
I'm at a loss of words for this, Daran.
It doesn't even look like you finished painting it.
I don't think this is a great makeup.
Sorry to disappoint.
I think that you have achieved kind of a classic vision of horror, but I-- I think you just went way too abstract.
It's just not very supernatural.
Looks very human.
- Daran, you can head back.
- Thanks, buddy.
Let's talk to Niko.
So tell us how you interpreted your cast shadow.
Once I saw the shadow, I saw a bull because of the horns and hooves, but I wanted to make it more human.
That's when I went with a minotaur.
- This is really a beautiful piece.
- Thank you.
You didn't use the actor's eyes.
I think that this is one of the more successful - ways of doing it.
- Thank you.
This is probably the scariest one of the bunch.
It matches the shadow really well.
It's menacing.
It's scary.
- Very well done.
- Thank you.
Your work, in terms of proportion, is quite beautiful.
It's big enough to push an already big model into gigantic, but it's not so big that it's clumsy.
- Well done.
- Thank you.
Niko, please step back.
Good job, baby.
Cat, please step forward.
Tell me about your concept.
How did you come up with this particular design? I hate bugs.
I think that's why I was drawn to the silhouette.
It reminded me of a cross between a beetle and a praying mantis.
For me, it looks like he's wearing a mask.
So I didn't find it to be particularly scary or-- or supernatural.
Mm-hmm.
I abhor the decision to have this hard surface on his face, and I don't see the silhouette.
I don't think it's a very good makeup.
- I've seen you do better.
- I agree.
I think one of the main failures for me is your paint job is a little weak.
It's odd to see yellow splotches on the face.
Cat, you can step down.
Tanner, you're up.
Tanner, tell us about your character.
I wanted a very old demon.
As deer grow older and older, their horns get larger and larger-- his horns getting so big that nothing's going to stop them from growing.
You've got some serious issues.
I-- Yeah.
I noticed that there's a gaping aperture next to what appears to be some sort of vacuum tubing.
It was going to be another set of horns, but I was running into a lot of weight problems.
Not good.
Tanner, can you tell us what you used on his body? It looks to me like you wrapped him in cellophane and hoped for the best.
Yeah, that didn't really work too well.
- Wow, I'm disappointed.
- Yeah, I am too.
The other bigger problem is that he's just really far from being camera-ready.
- Absolutely.
- Tanner, you can head back.
Thanks, man.
Corinne, please step up.
Tell us the story behind this character.
When I was looking at the movements, I decided that it was a goblin that creeps in the middle of the night and does nasty things while people are sleeping.
Nobody knows what hit them.
She is definitely a creepy, little thing.
That is a magnificent paint job.
Her arms are amazing.
Thanks.
I think that this is a beautiful, subtle makeup.
This character feels plausible.
It's beautiful work.
Thank you.
Seems like you've nailed supernatural entity to me.
Crawling around the corner of a bedroom when a kid is sleeping, it would be scary as hell.
Massive success on that level of this challenge, for sure.
Thank you.
Corinne, please 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.
All right, judges, why don't we talk about the looks you liked the most this week? Let's start with Graham.
I think he did a great job at hitting the right notes to tell the story of a supernatural entity, a shadow.
The chest was so cool.
That transition from little finger things.
We've never seen anything that looked like this before.
It's very cool and creepy.
All right, let's move on to Niko.
That head was so well-balanced, proportionally.
The sculpt of it was cool.
It was a riveting piece.
Out of all of them, it's the one that evoked the most genuine feeling of fear.
Okay, let's move on to Corinne.
I thought this was a really cool makeup.
I really enjoyed the paint job.
I especially liked the treatment of the arms.
The particular challenge aspect of trying to take this shadow and create a makeup of a creature that could cast the shadow, I think that she fulfilled that the most accurately.
The quality, the execution of it - was really, really excellent.
- All right, judges.
Let's move on to the bottom looks this week.
As you know, you have the ability to give special immunity this season.
- Yeah.
- Why don't we start with Daran? For me, he did two things that were a grave mistake.
The first one, an overly simplistic idea from front view and an overly complicated idea from rear view.
Whatever was going on in the back was just weird, and I don't think it worked on any level.
And the front looked human with raggedy clothes.
He said that that back thing was his focal point.
Well, if that's your focal point, why isn't it finished? All right, let's move on to Cat.
The paint job, I-I don't get it.
Looks like she just took a brush, and went bam, bam, bam, and put polka dots on his face.
It looked like a guy wearing an alien mask - and not much else going on.
- She keeps saying it was a bug.
Doesn't look like a bug to me at all.
Let's move on to Tanner.
This is one of the worst things I've seen on this show.
Everything was falling off-- the chest piece, one of the horns on the front.
The cellophane was unwrapping.
That was a bad choice.
He should've just painted the skin.
All right, judges, have you made your decisions? Yeah.
Okay, let's bring them back out.
Glenn, tell us about the top looks.
Graham, we really liked your cockroach-inspired makeup, and we love that you gave us something that we've never seen before.
Niko, you handled the facial sculpture of your character extremely well, and the character was very well-proportioned.
Corinne, we love that you presented us with a beautiful, believable makeup, and your shadow inspiration was very clear.
Who is the winner of this challenge? The winner of this challenge is-- - Who is the winner of this challenge? The winner of this challenge is Niko.
Thank you.
Thank you so much.
Your character was scary, imposing, and it matched up with its shadow.
- Great job.
- Thank you.
I'm really happy.
I'm super stoked.
It's-- it's-- This is why I came here.
- Niko, congratulations.
- Thank you.
You and Corinne and Graham can head back to the makeup room.
Unfortunately, that means the rest of you are on the bottom this week.
One of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
Daran, it was obvious that you tried to do way too much.
The paint, in particular, was very rudimentary.
Cat, your makeup did not feel like a supernatural entity to us, and we did not see the relationship with your shadow.
Tanner, there were significant issues with your overall character, and it turned out more cute than scary.
So who is going home tonight? The person going home tonight is Tanner.
Unfortunately, everything you tried this week didn't work out.
There were just too many problems with this character.
That means, Daran and Cat, you are safe this week and can head back to the makeup room.
I'm sorry, brother.
Tanner, you've exhibited some amazing raw potential.
Combined with your great attitude, you'll go very far in your career.
Thank you so much.
It's been an-- a wonderful experience.
Good luck, man.
Tanner, I'm sorry, but you have been eliminated.
It's been great having you here with us.
If you'd please head back to the makeup room and pack up your kit.
- Bye.
Thank you.
- Good luck, Tanner.
Bye, Tanner.
Good luck, hon.
I'm bummed.
I made errors.
That's the most disappointing part.
I know that I'm better than that.
Oh, dude.
It's been crazy.
I've never worked so hard and so fast.
I'm going to take away a lot of great experiences.
And I'm proud of the makeups and the things that I've accomplished here.
This experience has definitely made me a better makeup artist, so I'm going to keep going buck wild with it.