Face Off (2011) s06e11 Episode Script

Damn, you did a great job.
That's a lot of good decisions.
You've really done a beautiful job this week.
Previously on Face Off Tyler's Whangdoodle brought him a staggering third victory.
Thank you so much.
And Chloe was sent home.
Now, six artists remain, and tonight they'll tackle a challenge of genetic transformation Oh, that's so cool.
I've been waiting for a challenge like this.
and draw one artist closer to the finale.
If I don't get this done, this is gonna send me home.
They're so important to my design, but they are taking me so freaking long.
Oh, my God.
It's like constant pain.
This makeup doesn't really work.
It's really quite beautiful.
You really have to turn your game up at this point, man.
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 toFace Off.
I need to step it up.
I was again in the bottom looks.
But you don't know what could happen, you know? The competition is getting tighter though.
Much tighter.
It's the real deal now.
The challenges are getting more extreme.
Competition's getting tight.
Everybody here is a threat.
And I just need to make sure I stay on top of my game and keep coming up with original things.
- All the girls are gone.
- Yep.
All the girls are gone, except for Niko.
- Ooh.
- Look at this.
This is cool.
We end up at the Gnomon School Of Visual Effects.
That is beautiful.
This is a very famous school.
They have top-notch students here.
This is gonna be cool.
Ooh.
Oh, my goodness.
We get into this freaking cool room.
All these computers, and then there's McKenzie and Neville.
It's like, "Oh, my God.
This is gonna be cool as hell.
" Hey, guys.
- Hello.
- Hey.
Welcome to Gnomon School Of Visual Effects.
This state-of-the-art facility has produced some of Hollywood's premier digital effects artists, like Neville here, who is on the advisory board, so I'm gonna let him tell you a little bit more about it.
Gnomon is widely considered the MIT of visual effects.
Past students, which include yours truly, have contributed to blockbuster films such as The Avengers, Prometheus, and The Wolverine, just to name a few.
Visual effects are a really great tool.
Visual artists sketch out the character and then it comes to us to actually build it, so I'm really excited.
All right, so let's talk about this week's challenge.
Films like Spider-Man and The Hulk tap into the hidden power of genetics Sweet.
where special genes or mutated DNA give extraordinary abilities and sometimes radically alter one's physical appearance.
Oh, my God.
Talking about mutants here.
We're doing mutants.
Everyone in the room, we're like-- just, like, "Oh, my God.
This is our challenge.
" I think we're all, like, mutant nerds.
On each of these monitors is a special strand of mutated DNA representing a unique trait or ability.
Your spotlight challenge is to select one of them and create an original mutant who physically manifests that trait.
- Oh, that's so cool.
- Thank you, thank you.
I've been waiting for a challenge like this, so I'm excited.
George, you're up first.
George, you have impenetrable skin.
Niko, you have magnetism.
Rashaad, you have elasticity.
Tyler, you have wallcrawling.
Graham, you have tunneling.
Daran, you have panoramic vision.
All right, so, what are you gonna be looking for in their final makeups? We're gonna be looking for these specific physical traits manifested, and I want to make sure that you guys really push yourselves creatively because you got these wonderful DNA strands to work with.
Now, in Hollywood, makeup artists have to keep up with the latest trends.
For many, that means using digital technology to help perfect their designs before they even begin sculpting.
Today, our friends at Pixologic, makers of Zbrush Software, have been kind enough to bring us some amazing visual effects artists who will help bring your designs to the next level.
Oh, awesome.
That's pretty cool.
I've never seen Zbrush work, and now we get to sit down with a Zbrush artist and start firing ideas out and watch them appear, which is incredible.
Now, you've each been assigned to one of these talented artists and will have two hours to collaborate with them on your design.
So, go ahead and get started, and I will see you later on back at the lab.
Good luck.
Hello.
- I got tunneling.
- Tunneling.
- Okay, crazy.
- Yeah.
It needs to have a strong head - Right.
- neck, shoulders, and arms with more, like, vermin-like features.
So, like, we'll pull the jaw back a little bit maybe? Yeah.
Yeah.
That looks good.
That's already looking kind of mole-like.
Something kind of like that? Immediately I thought sort of subterranean mole-like man.
Also, he's wearing a helmet to help him dig as he's going through all these tunnels.
I don't want to go with something too, too big.
- You know what I mean? - Yeah, yeah, yeah.
More, like, cool-looking, you know? I don't want to be, like, a little animal, you know-- Yeah.
Yeah.
No, no, no.
Totally.
I get impenetrable skin.
The mutant is a military officer who is experimented on, and he starts turning into an armadillo kind of look.
Oh, dude.
That's so cool, man.
Like, even if you want to incorporate - the elastic things, like - Mm-hmm.
perhaps, like, on the corner of the nose, but really small.
My mutant gene is elasticity.
My concept is this octopi guy who has the ability to stretch and expand, and he's got these tentacles on his back, and he's got this elongated head.
So I'm explaining this to Stefano and he's working it into the computer, 'cause as soon as I tell him what I want, he's already doing it on the Zbrush.
So it's amazing.
I like the way it looks now, 'cause then that helps break up the human form somewhat.
Yeah.
Yeah.
That is cool.
That's gonna look cool, man.
It does remind me of a bat and a fly kind of-- because I got wall crawling, my concept for my character is this villain mutant that's in mid-mutation and very fly-like.
It has these big hands that can propel him up a wall.
To me, that looks like that can stick to something.
Metal doesn't attract so he can actually push it back.
- Oh, push it back.
- Yeah.
Oh, that's great.
Thank you so much.
All right, guys.
It's time.
Let's head back to the lab.
It was absolutely awesome.
Good to meet you too.
- Good luck to you.
- Thanks.
All right, here we go.
It's day one of the mutant challenge.
We have five hours in the lab today.
My mutation is panoramic vision, and I'm gonna make this protrusion coming out of the head out of gelatin that you can see from any angle, which will be an extension of her eye.
I've gotta get a piece of foam and draw out my design for the gelatin piece, cut that out, and stick it to my clay, which has gotta be sculpted separately.
I just hope the judges are gonna be able to read this later on.
I get magnetism, and I'm like, "That's super, super cool.
" My concept is this villain mutant that transforms himself into this power source of magnets, so I want to do the muscles all built in coils and have some magnets in the hands so he can control his power.
The first thing I start working is on the face, but I need to make the cowl, and I need to do a chest piece and also work in the hands, so I have a lot of work to do.
My creature has these big hands and the little hairs that flies use to climb up a wall.
Her chin ends here - Oh.
- 'cause she's tiny.
My model's face is very, very small but my character's face is very long.
- That longer-- - Yeah, that-- It's weird.
Oh, yeah.
She has, like, really small-- - I'm gonna have to actually build clay to get that elongated look.
Hello, guys.
- Hey.
- Hi, everybody.
- Hey.
- Here for a walkthrough.
There's gonna be a cowl that is gonna integrate with this, which is gonna start here, all around the back, - up to here.
- Mm-hmm.
- So, right there? - Yeah.
Edit yourself.
This whole first impression is more important than in the back.
If you're gonna have to spend half a day - Yeah.
- sculpting and molding.
Okay.
Got it.
All of this is going to be eyeball.
It's really a story that the judges need to know.
They would totally not understand what's going on.
I would think if there was anything else that you could put in there, like little veins or something.
Oh, okay.
Well, I got the mutation of magnetism.
Okay.
His whole skin is made in coils.
Be careful that you don't get them too flat so it looks like a wrinkle.
If you want to do that second layer, you just take your clay and roll 'em out, and then lay it on top of there.
- All right.
- Okay? - Thank you so much.
- Good luck.
I was trying to think of an elastic animal that can stretch and contract.
So I decided to go with an octopus.
Accentuate the pulling and the stretching - in the face - Right.
to sell the idea as elasticity.
- Okay.
Yeah.
- Mm-hmm.
I got the tunneling mutation.
So, instantly I thought mole rat.
You really need to paint this well to bring out all the little details.
And this is also something that can have a lot of dirt on it.
Take a big sponge with Kryolan brown or something and give it a squirt and give it - a smear of paint.
- Okay.
I have wallcrawler.
So, I had that concept of, like, a bat-fly that can actually, like, stick to the wall and climb up.
Mm-hmm.
You're pretty tight here.
You're not leaving yourself much forehead here.
Mm-mm.
I would, just to allow for shrinkage.
Okay.
All right, guys.
It's looking really good.
- Bye.
- Thank you.
- Bye.
- Bye-bye.
Bye-bye.
So, to create this character, I'm gonna need to make a face and a cowl to build out the muscle structure.
I'm making the face so it's scrunched into the design, based on the idea that he's just built out so much that's kind of got, like, this henchman-y look.
I am concerned that a mole isn't that interesting-looking, so I hope I don't get knocked down for being too safe.
That's so you.
Like, the fun-- it's you.
The clock is ticking, and I'm still working on the detail of the sculpture of the face.
That's a huge problem.
Doing these coils like Mr.
Westmore told me is actually time-consuming because you have to make sure that you make those lines really perfect.
If not, the judges will not get the concept.
I don't know if I'm going to be able to do them all.
I'm like, "Oh, shit.
What do I do now?" If I don't get this done, this is gonna send me home.
Coming up Oh, fuck! Ooh, George.
You all right? Fuck, man.
My body hurts like crazy.
This is your weakest showing to date.
Nobody's gonna get it.
This is really quite exceptional.
It's the first day of our challenge, and I'm having some trouble with the face piece.
My mutant has the ability to control magnetism.
So he's all built in coils, and it's taken me more time than expected to make them.
I really want to focus on having a really good piece, so I want to take my time to do this right.
I don't like it, but it probably has to be finished tomorrow.
I'm definitely taking Mr.
Westmore's advice to heart, and to incorporate more of the elasticity in the face, I pull the corners of the eyes out, pull the corners of the mouth out, pull the corners of the nose.
Once I finish sculpting, it's time to mold.
I need to get this ready to go pretty quickly, because when you get the face done and run in foam, you can line it up with the cowl and make sure everything is perfect.
Is that supposed to be, like, her bone? No bone.
Like, an extension of the eye.
Nice.
I've got my face sculpted.
And my plan on this one is to run some strips of LED lights underneath, which will actually give the gelatin a glowing feeling.
Mr.
Westmore was not sure if the judges are gonna get the concept, so I'm hoping this will help this panoramic eye read better.
So, I finish sculpting the face and I start blocking out the cowl.
I hear you sighing.
What happened? My shoulder's locked, dude.
Yeah.
What'd you do, slap the clay on? I think so.
Making this gigantic cowl has taken a toll on me physically, and I'm not 20 anymore.
Oh, my God.
What the fuck? This thing is slowing me down, man.
So I'm a little worried about it, but we'll see how it goes.
You got 33 minutes! All right, guys, that's time! Right here.
At the end of day one, I've got a face done, I've got the nose molded and done, but there's still a whole lot to do.
I got to make a cowl.
I need to figure out how to pad out the arms.
And I definitely need to make some cool mole talons.
I'm worried that I'm gonna have a tough time getting everything sculpted right.
It's day two of our mutant challenge, and we have 9 1/2 hours today.
Because my character is in mid-mutation, I want to make sure I get that round back and the thick parts of the neck and really make this character look demonic and fly-like.
Because my model is so small, instead of sculpting separate pieces, I'm doing a pull-over bodysuit.
I think everybody at this point's like, "Okay, got to step it up.
" So I got to get this out because it's my main piece that is gonna just make it or break it at this point.
Day two is going to be very important.
I need to finish the cowl, so I start sculpting out the muscle structure for this thing.
I'm a little bit worried because it might be too simple.
But since it seems like it's gonna be a lot of sculpting, I'm trying to go as fast as I can.
Today, I'm finishing the detail on the face, finishing the cowl, and start sculpting the chest.
I got to do it at super speed.
My shoulder is, like, hurting right here, but I'm gonna keep going.
If I can lift my finger to sculpt, I'll freaking do it.
I'm trying to work as fast as I can with the coils.
I'm bouncing back from the face to the chest so they can look cohesive.
And I want to mold them almost at the same time.
First with the face, and then as soon as I finish the face, I can start with the chest.
I've got both pieces sculpted for the gelatin eye.
So at this point, I am molding them together, and I'll be pouring the gelatin in before the end of day.
Feeling pretty crunched for time right now.
I know this one's going to take a lot to do.
There's a lot of pieces to this and everything's got to line up and look just right.
I finish the cowl, so now I need to make some big mole claws.
I find some pre-made horns that kind of look like claws.
Anybody have a little bit of extra plaster? Yeah.
Absolutely.
And I realize, like, I have to wait for this stuff to set.
Great.
Now what the fuck do I do with these? I don't know what to do with all this crap.
I'm sittin' around with 'em like a jackass.
I finish sculpting the chest piece, the face, and the cowl.
And I'm trying to mold them all at the same time.
Damn it.
Every time I do molds, my body hurts like crazy.
The whole physical toll of the competition is getting to me.
Oh! Ooh, George.
You all right? - Fuck, man.
- You all right? Fuck.
It's like constant pain all the time.
It's hard to think, I'm tired.
And I'm like, "Oh, my God.
" Shit.
I still have a lot of work to do, but this is gonna slow me down and I know it.
I'm afraid I'm going home, for sure.
Fucking shoulder.
Shit.
It's day two of our mutant challenge.
I am very worried 'cause I need to get three things molded by the end of the day, and it's actually hurting my shoulder a little.
But I've dealed with this pain all my life, and I'm gonna keep going, no matter what.
I sculpt out the tentacles that are gonna go on the back.
And instead of sculpting two tentacles, you just sculpt one and make a flat plaster mold that can be used for both sides.
They came out beautiful, ready for application day, and I am happy.
At this point, everything's done on my wallcrawling character.
But the biggest thing are these little hairs, and I find these foam noodles.
I can just use those and melt 'em.
So I'm cutting them in various sizes.
So the entire day, I am melting and pinching and they look great, but I'm literally making over 100 of these things because they're so important to my design, but they are taking me so freaking long.
I know it's gonna eat up my application time tomorrow.
I'm doing all these molds at the same time and I'm looking at the clock, and I'm almost done.
I'm like, "Wow, I did it.
" All right, guys.
That's time.
Time to go home.
It's been a very hard day physically, and tomorrow I got a lot to do.
A lot to do.
We'll see if I get it done.
Wow, dude.
What a day.
Definitely what a day.
I miss my wife and my parents and my brother.
- Everybody, man.
- Yeah.
I really miss my wife.
I need that little boost of confidence that she brings to me.
I hope my wife is okay, man.
She's alone there with her belly, our baby.
- In a month, dude! - In a month? I'm gonna be a father in a month! That's crazy.
I got a longer wait.
- You miss your family, dude? - Oh, definitely.
Definitely.
I miss my family, but I try to stay focused because this is all for them.
Come on, I need-- Let's go get something to eat, man.
I need something.
Let's get it.
Whoo.
It's application day.
We have four hours in the lab, one hour in last looks.
I run in, check my pieces.
Yay, they came out.
All I really have to do is cut the seams off, make sure everything is patched, dried, and ready to go.
How are you? Our models arrive.
- Ohh, I'm so excited.
- Are you ready? You have no idea.
Yes! I am so ready.
And I start getting everything on Megan.
I get the suit on her, and of course, it's too big, so I end up cutting the face and pulling the cowl down around her face with glue.
I put my appliance over that and everything's lining up right.
I'm like, "This is great.
" Perfect.
You look so scary.
Let's put the head first.
I start applying the cowl, and I'm noticing huge gaps in the shoulders.
Wait, wait, wait.
Let go of that.
It's gonna be a little problematic.
I end up cutting foam to stuff into the cowl to make the whole thing tight.
And it's perfect.
It works.
- Oof.
- You okay? Okay.
Don't scare me, man.
"Here we go again.
" "Time to make another tunnel.
" I start comin' up with this idea for the tunneler where he's kind of disgruntled because everyone else has a cool power and his is tunneling.
"You think you're strong? I'll tunnel right through your house.
" I'd be jealous if I were him.
You know, somebody has, like, wallcrawling abilities or impenetrable skin, and I can tunnel.
But I tell the guy, you know, "We're gonna make you the coolest tunneler you can be.
" And he'll go-- he'll snap one day.
_ All right.
Let's try this.
Well, it's extremely important that these strips of LED lights line up perfectly to make the translucent gelatin glow.
Perfect.
I manage to get everything glued down all the way around.
So, I'm gonna stand you up now.
I'm gettin' ready to start painting this thing, and my model stands up and the LEDs get caught on the chair Shit, I just pulled that all the way through.
And pulled out of the cowl.
Absolutely not good.
So, I try to run these LEDs back up to the head, but it's impossible because my hand won't fit up in there.
I'm gonna have to scrap the LED idea.
Okay, we're movin' on.
The lights were a pretty important part of my makeup, so I'm gonna be in trouble.
Okay, I'm gonna go under your chin.
I have the face piece, arm pieces, and the chest applied, and I still have time to paint.
We're going to win this.
- Do it.
- Let's do this.
I start doing some dry brushes with my copper Kryolan aquacolor on top of every coil.
So it still looks shiny through the makeup, and I'm really happy about that.
Once I get my base color down I go glue each individual hair into every single hole that I made on the cowl.
I can't have any empty holes.
Every one has to be filled.
But there is so many of them that I'm gonna have to make these hairs in last looks, I think.
I'm gettin' worried because I spent a lot time in my application trying to fix the LEDs, so I still have to finish my paint job.
We got six minutes.
All right, everybody.
That's it.
Time.
I feel like I'm really behind on this one.
I don't have the gelatin pieces glued down.
I'm freakin' out a little bit, but I'm hopin' that everything works out in last looks.
- Coming up - You all right? Yeah, it's my arm.
I can't go home on this.
This is ridiculous.
I'm fabricating in last looks.
That is superb.
It's not one of my favorite makeups.
Whoo-hoo! Same spot, different day.
I still have a lot of work to do going into last looks.
Sit down, my friend.
We got a lot to do.
I'm just now startin' to glue down the suction cups.
I need these to go on because that's what's gonna sell my whole theme of elasticity.
You all right? Yeah, it's my arm.
Sink or swim, George! Sink or swim! It's wearing out, dude.
I'm so sick of making these things.
I have to make more of these hairs.
This is ridiculous.
I can't believe I'm fabricating in last looks, but these hairs are so important that I have no choice.
_ - Okay.
- Thank you.
At this point, I'm gettin' worried 'cause I don't have the gelatin pieces glued down and I'm not sure if they're gonna fit right.
I'm racin' through to figure out what's most important, because this hour's feeling like 15 minutes.
All right, everybody.
That's it.
Brushes down.
I think that was the fastest hour yet.
That was the fast one.
Well, the paint job definitely suffered on this one, but I just hope the judges can understand - what I was goin' for.
- Yeah.
Welcome to theFace Offreveal stage.
Tonight, one of you will be eliminated.
First, let's say hello to our talented judges.
Owner of Optic Nerve Make-Up Effects Studio, - Glenn Hetrick.
- Good evening.
- Good evening, Glenn.
- Glenn.
Three-time Oscar-winning makeup artist, Ve Neill.
- Gentlemen.
- Ve.
- Hello, Ve.
- Hey, Ve.
Creature and concept designer, Neville Page.
- Hello, guys.
- Hi, Neville.
And joining us tonight is a member of the Face Off family.
She's an Academy Award-winning makeup artist for Lemony Snicket's A Series Of Unfortunate Events, and she won the Bafta for Tim Burton's Alice In Wonderland.
Please welcome back Valli O'Reilly.
Hi.
I am such a fan of her work.
So this is the woman to impress here.
Valli, great to see you again.
Good to see you too.
I'm excited to see what you guys have come up with.
All right, this week, your spotlight challenge was to select a special genetic trait and use it to create an original mutant who physically manifests it.
So, let's take a look at your mutants while the audience at home tweets about their favorites using #FaceOff.
It's got a cool paint job.
He's got those awesome, big claws.
So I'm really happy with what I've done.
He's got a strong profile, and it's going with the background, so I think he's a strong character.
I'm loving the size of this thing.
It's looking very impressive.
I can't go home on this.
This is-- this is good.
At this point, I just hope that the judges appreciate my originality.
I'm not sure if they're gonna get what I was goin' for, so I'm definitely worried on this one.
This makeup was stressful in the beginning, but I'm happy with it.
It looks so creepy.
There's something about it that just tells a story, and I hope the judges get that.
Judges, why don't you take a closer look at our mutants? That's a nice claw.
Let's see how much you can move your hands - with those things.
- Wow.
That looks like it's coming off.
One of these things looks like it was coming off.
Oh, yeah.
That's startin' to fall apart.
- Yeah.
- Thank you.
Some really beautiful shapes.
The paint is tight, man.
He left himself a lot of time.
That must have been the pre-paint.
- Yeah.
- Nice colors.
Thank you.
I don't get what this is.
Is it a hide or is-- it almost feels like rock textures being attempted in some places.
Do you think there should have been a little more definition in the skin tone? - For sure.
- You know, a little, uh-- It's very flat.
Thank you.
Wow.
It's like a blue turtle, which is not a good thing.
Those are cool shapes.
They just need to be emphasized with the color.
I'm worried about what the judges are thinkin'.
I know there are a lot of problems and I could be going home.
Who made your favorite mutant? Tell us on Twitter using #FaceOff.
Wow.
It's like a blue turtle.
I didn't have a chance to finish my paint job, but hopefully the judges will see what I was going for.
- Thank you.
- Thank you.
This is reminiscent of Geiger work.
Are those teeth? - Feels like it.
- That's cool.
Look at that.
This is all foam, guys.
It would have been so easy to make the mistake of making it bronze, and there's so much flecking and stuff to break it up.
Thank you.
I like this one much better close up.
There's really nice color transitions.
There's a lot of colors in there, - blending them together.
- Yeah.
- The eyes are really creepy.
- Yeah.
- You can see all that pink - Mm-hmm.
All throughout this paint job.
Yeah.
Beautiful.
Thank you.
The judges have scored your creations, so let's find out what they thought.
Rashaad George The two of you are safe this week and can head back to the makeup room.
- Thank you.
- Thank you.
The rest of you are the best and the worst.
The judges would now like to speak with each of you to learn more about your work.
Niko, please step forward.
Tell us about your concept and how you worked with your artist to create this character.
The DNA that I got, it was magnetism, so we came up with this design that he has all these coils and generates all the magnetism.
It's gorgeous.
You went off in your own direction and integrated this coil idea.
I quite like that.
It's a very unique way to have approached this challenge.
- Well done.
- Thank you.
I really like this character.
I love the metallic look of it.
You did a really magnificent paint job.
Nicely done, Niko.
Thank you so much.
It's a bit more of a costume design than it is a makeup design, but it doesn't change my opinion about it being a really good-looking character.
Thank you so much.
I really see how much time and how meticulous you were with your applications.
You did a great job with this challenge.
Thank you so much.
Niko, if you'd please step back.
- Good job, brother.
- Thank you.
Graham, please step forward.
Tell us how you got the inspiration for your character.
I decided to play with the naked mole rat look.
But at the same time, I threw in, like, the star-nosed mole just to make it more interesting.
I got to tell you, it's not one of my favorite makeups.
I don't like the way your cowl and your face piece, they don't even blend together.
I don't think your hair work was very well applied.
For me, this makeup doesn't really work.
My biggest problem is you did go with kind of the most obvious choice, and I just don't think it actually played out very well.
I wasn't sure it was a mole when I first looked at it.
I thought it was some kind of slug, and the teeth pop out too much.
I might have chipped them a little more to make them not come apart from the rest of the character.
I hear that.
Graham, thank you very much.
If you'd please step back.
Tyler, please step forward.
Tell us about your genetic mutation and how it inspired this creation.
When I sat down with my artist, we were thinking of some sort of fly or insect that can crawl up a wall.
I wanted to use the little hairs to make it look like that's how this thing could stick like a spider on the wall or a fly.
It's really quite beautiful.
You've done such a large-scale character, and the thing that I noted first was just the beauty in the face, but particularly around the nose and the mouth.
Congratulations.
It's really quite exceptional.
Thank you.
As soon as this thing walked out, I thought, "That is superb.
" Immediately upon looking at it, I can put together its back-story and that is so important with a character like this.
It's exactly what I'm expecting out of this challenge.
You nailed the quintessence of mutation.
When I got up close, I went, "Wow.
" The paint job is so well executed, so subtle.
I loved the really beautiful layering of all those really great, subtle colors.
It's those nuances that make a makeup really successful, which I believe you have really done.
- Thank you.
- Tyler, please step back.
Daran, if you'd please come forward.
Tell me about your concept.
I chose the panoramic vision.
Instead of going literal, with a bunch of eyeballs or one huge eyeball in the back I wanted to make a spread-out thing that looked like the eye without the pupil or the iris.
And this would, like, pop out when she needed to see.
So, I guess the white parts that you had are supposed to be part of the eyeball, right? Yes, everything white is supposed to be the eye.
I didn't get the message.
When I look at what's presented, panoramic vision, it didn't tell me that.
Makeup-wise, this is your weakest showing to date.
I think that the anatomy is really wonky on this.
Make sure that however cool your design is, when it walks out here, it tells us what it is that it's supposed to be.
You really have to turn your game up at this point, man.
Oh, yes.
I agree.
It doesn't look like panoramic vision.
The ordinary person is not gonna know what the heck you did.
You got to think about that, honey.
You just can't just, like, throw your weird ideas out there and hope that they stick on the wall, because, you know, nobody's gonna really get it.
Okay.
Daran, if you'd please head 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.
- Thank you so much.
- Thank you.
All right, judges.
Why don't we talk about the looks we like the most this week? Let's start with Niko.
I dug that makeup.
I love the antiqued quality of it.
It was an organic-looking makeup.
He had a big idea, and he chose to focus only on that which he could do.
It's one of Niko's strongest works, for sure.
There was so much detail in that makeup.
He must work fast.
All right.
Let's move onto Tyler.
The subtlety of that paint job, it was so well handled.
And that really soft pink around the eyes was mimicked throughout the makeup.
There was just a lot of great decisions.
The fact that the hands are all stretched out felt like it was still transforming.
Tyler's got a really good sense of form.
When you got up close, it had really elegant, beautiful little details in its form language.
He followed the challenge perfectly.
- Mm-hmm.
- All right.
Let's move on to the looks we liked the least.
How about Graham? I thought that tunneling was such a great mutation, but going with a mole rat was just the lowest hanging fruit.
It's, like, the obvious, go-to thing.
He didn't follow the challenge to the fullest.
His has suffered massively, in my opinion, from the obliteration of the human form.
I did not empathize with his character.
I didn't want to know more of its story because I felt like I knew its whole story.
It's a mole.
It tunnels.
I get it.
And what about Daran? It was so out of the box conceptually and it also wasn't a beautiful makeup, and this is dangerous territory.
The question is, do we want to see what he does next? The notion of the sclera creating this graphic mask was kind of cool, but just the dark blue prosthetic-- - it was horrible.
- Yes.
It really was pretty, pretty terrible.
Very pedestrian paint job.
It's so below his normal skill level that I'm kind of shocked he brought it out.
So, judges.
Have you made your decisions? - Yes, we have.
- Yeah.
Let's bring them back out.
Glenn, tell us about the top looks.
Niko, we thought your sculpting displayed some impressive detail, and the paint job and the overall design were really well handled.
Tyler, very cool idea to create the character mid-transformation, and we thought that you did an expert job creating something that evoked emotion.
Who is the winner of this challenge? The winner of tonight's challenge is All right, Glenn, who is the winner of this challenge? The winner of tonight's challenge is Tyler.
It is rare that a character strikes such a fine balance between villainous and empathetic.
Astounding work tonight.
Thank you.
Holy cow, I won again.
I'm, like, so honored and blessed.
Now it's getting close and I'm in top five, so for the first time I'm thinking, "Maybe I could win this.
" Tyler, congratulations.
You and Niko can head back to the makeup room.
- Thank you, guys.
- Thank you.
- Good job.
- You're a monster, dude.
Thank you.
Unfortunately, that means you two are on the bottom this week, and one of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
Graham, though we did like parts of your makeup, your concept was clearly the first thing that came to mind, and that is rarely the right path.
Daran, your concept was wildly interesting, but what you had in your head just didn't translate into the makeup.
We didn't get it visually.
So who is going home tonight? The person going home tonight is Graham.
As we get closer to the finale, we're looking for truly stand-out makeups.
Unfortunately, yours was just too conventional.
That means Daran, you are safe this week and can head back to the makeup room.
An absolute pleasure, brother.
- Likewise, man.
- Thank you, guys.
Graham, I'm confident that we're gonna get to see the best from you in the future professionally.
I love the chance that you guys gave me.
Thanks a lot.
Graham, I'm sorry, but you have been eliminated.
It has been so great having you here with us.
If you'd please head back to the makeup room and pack up your kit.
- See you, guys.
- Thank you, Graham.
Good luck, honey.
Yeah! I don't have one regret.
I've loved everything that I've done and I've had tons of fun doing it all.
That's the end of Graham.
I got to create some great makeups and put them in front of some really talented judges.
Yeah.
Okay.
I've proven to myself that I know how to do this stuff, and I not only can technically achieve it, but artistically as well.
I feel like I can do almost anything at this point.