Face Off (2011) s07e14 Episode Script

The winners of this challenge get to go to the finale.
To make it this far is just unbelievable.
There's only three people standing between me and 100 grand.
This is the last chance to show that I have what it takes.
In a season of life and death, four artists have thrived.
But which three will keep the dream alive and make it to the finale? Don't hold anything back.
- So much to do.
- Yeah, right.
All aspects of this makeup have to be perfect.
The worst foam in the world.
- You have a lot of work to do.
- Ew! I bit off more than I can chew.
I've got several surprises in store for you tonight.
- What's happening? - I don't know.
What is this? We show up to the studio, and we're walking through all these different sets.
And I have no idea what's going on.
Oh, God.
Oh, creepy.
Every ten feet, it's like you're in a different world almost.
- Weird office or something.
- Yeah.
I'm confused.
We get to this elaborate courthouse set, and at the end of the walkway, there's McKenzie.
What? I'm super excited.
There's a newsstand.
And the newspapers have all of these really sensational headlines.
- What the hell is a Yeti Crab? - I don't know, but I love it.
- Hey, guys.
- Hey.
Welcome to DC Stages in downtown Los Angeles.
This location and its massive variety of standing sets has been featured in dozens of films and television shows, like Alias, X-Files, and Iron Man 2.
Cool.
Now, you're next spotlight challenge is inspired by two infamous movie monsters that made a name for themselves destroying some of the world's most recognizable skylines.
Are any of you Godzilla or King Kong fans? - Yeah.
- Of course.
Now, Godzilla and King Kong are forever associated with iconic buildings like the Tokyo Tower in Japan and the Empire State Building in New York City.
Each of these newspapers features a bold headline-- an image of a famous landmark that's been devastated by some type of monstrous creature.
So your spotlight challenge is to choose one of these newspapers and use its headline and imagery as inspiration for your very own giant monster.
Yes! Yes! I love giant monsters! I am ecstatic.
This is like a dream challenge-- to get to make a giant monster.
I gotta calm down.
I'll pass out.
All right.
So our headlines are "Yeti Crab Crushes Kremlin," "Giant Sloth Slashes Shanghai," "Mantis Preys On Paris," "Deadly Squid Destroys Dubai," and "Taj Terrorized By Pterodactyl.
" All right, guys, I want you to choose carefully, because this is your last chance to show the judges that you are capable of earning a spot in the finale.
This is dream come true.
I've always wanted to make a giant monster, but I am terrified, because I just need to get the spot in the finale.
- Dina.
- Oh, God.
I'm gonna do this.
Cig, you're next.
I don't know.
I'm gonna go with Yeti crab.
- Ah! - Squid.
- I'm going with the sloth.
- All right.
All right, guys, I have an exciting surprise for you.
I want to introduce you to a very special guest.
He's starred in dozens of hit films, like Star Trek, Capote, Traffic, and appropriately for today's challenge, Guillermo del Toro's Pacific Rim.
Please give a warm welcome to Emmy-nominated actor Clifton Collins, Jr.
Clifton Collins, Jr.
has done a lot of productions with makeup effects and especially giant monsters.
So I'm stoked to see him here.
- Hi.
- Hi.
Thank you so much - for being here.
- Thanks for having me.
- I'm a big fan.
- I should also tell you guys that Clifton will be joining us on the reveal stage this week to see your final makeups.
So, as one of the stars of Pacific Rim, you've seen your fair share of giant monsters.
- I have.
- What do you think it is that gets the audience so excited? For me, it's, like, the nostalgia.
Having grown up on, like, big, giant robot or Godzilla or any of these monster movies, to become an adult and see these creatures brought back to the screen is just a great time.
What are you gonna be looking for in their final creation? I'm gonna be looking for originality and attention to detail.
I think, as a character actor, I'm always hunting for those minute, little details - that make the difference.
- Very cool.
Thank you so much.
All right, guys, it's time to get started on your sketches.
And remember, don't hold anything back, because it's now or never, if you want to prove to the judges that you belong in the final three.
See you later on at the lab.
Good luck.
Good luck, guys.
I got "Mantis Preys On Paris.
" The cool thing about praying mantises is the females actually eat the heads of their mates.
So my concept is she ate tons of them and grew into a giant monster.
I have to do wings, face, cowl, arms, legs, and then they have this whole lower body part that I'm probably gonna have to fabricate.
I have to just go all out in this challenge.
I want the judges to see that I don't just do pretty things.
I can do creepy.
I like sloths.
They're real stupid and slow and cute.
So it's gonna be fun trying to take that and transform it into a hideous, scary monster.
My concept for my giant sloth that destroys Shanghai is an ancient, forgotten creature that has been brought to the modern world and basically just goes crazy.
So he's gonna have longer arms with really long claws, some sparse hair, and shortened legs.
I'm not holding anything back this time.
Like, it's a monster challenge, a giant-monster challenge.
So I'm going giant monster, all the way.
- How's your squid monster? - It's a squid man.
Yeah? Let me see.
My concept is this radioactive mutant squid.
The squid is growing bigger and bigger, until he goes on a rampage in Dubai.
They're all soft and squishy, except for this big, bad-ass beak that can just, like, rip apart Dubai, apparently.
I think I'm gonna put the mouth, like, on his chest.
- Cool.
- How's your Yeti crab? It's gonna have, like, Yeti face and, like, carapace going back.
- That's cool.
- And then it has, like, big forearms.
So my story is that the Yeti crab is actually a mutant byproduct of the Chernobyl disaster.
And the Russian government captured it, but it's too strong, and it breaks out.
Now it's just pissed off, so it just starts crushing the city.
- So much to do.
- Yeah, right.
Hey, guys.
Let's go back to the lab and start our monsters.
Yeah.
It's day one of our giant-monster challenge, and we have six hours in the lab.
So much to do.
I'm on Cloud Nine.
I get to make a giant monster.
I'm gonna sculpt a cowl and a face piece.
Then I'm gonna try to fabricate an entire creature suit that ends in crab claws and have, like, armored plates all throughout.
I start with just the basic ape sculpt, and add some other stylized elements into the gorilla face.
It's a monstrous amount of work.
The mantis eyes are, you know, on the side of its head.
So I find these giant, plastic half globes that are perfect for its eyes, so stick those right into my sculpt.
And then I'm gonna try to hide my model's eyes in the nostrils, so I start working on the face and the cowl at the same time because it needs to match perfectly, or this is not gonna work.
All right, this is my fourth bag of clay.
What are you making there-- - chest piece? - Yeah.
A squid is not all that scary, just this gross, slimy thing.
So I start sculpting this big, thick beak right in the center of my model's chest, with all these rings and spikes.
The beak's gonna look like it can destroy a whole city.
Got to just be a pit of destruction in its chest.
It's gonna sell the scary aspect.
Do you like him? Yeah.
I love sloths.
It's like, they're adorable.
What can they possibly do? I'm spending a lot of time trying to make sure I don't go too sloth-y, which will just turn out to be a giant cute monster, so I'm spreading out the eyes so that he's still sort of dopey and cute-looking, but also somewhat menacing and more like a giant, scary sloth.
Hey, guys.
We're here to check in on you.
- Hey, George.
- Hey, how are you? - Good.
How you doing? - Hi, George.
- Good to see you.
- All right, so you have - "Deadly Squid Destroys Dubai.
" - Yeah.
So I'm gonna have these giant eyes and the face split, and these will blend into the tentacles that are his arms.
And then the beak is gonna be on his chest.
What about color now? The paint job is the thing I'm most looking forward to.
Tans with some, like, blue spotting and patterns and stuff around it.
Well, you don't want to get muddy either.
- No.
- When you talk about tans, you don't want to, all of a sudden, start to shade and get it too dark.
Octopus and squid, you find reds and blues and purples.
- Mm-hmm.
- So you can easily work those - into your shadows around there.
- Yeah.
All right, so remind us what you chose today.
"Mantis Preys On Paris.
" - That's right.
- I like your face.
Should I white her eyes out maybe? No, I wouldn't whiten them, 'cause that's gonna pop right out.
If anything, bring your shading all the way through here and really just go all the way down - with the aqua color plus - Yeah, yeah.
'Cause it'll last, and then take a black pencil and do the table of the eye to get rid of any pink - that's in there.
- Right.
So, yeah, here he is.
I'm trying to change the silhouette so that he has a wider, like, stockier head, basically.
Mm-hmm.
Since you are so thick here, score it from the inside, before you put it on him, - so it'll bend.
- Okay.
In fact, I would even, with this one here, so he could get more of that, would be to literally tear some out.
Score it and tear some out of it, 'cause then it will have something, you know, to fold into.
- Okay.
- All right.
So you got "Yeti Crab Crushes Kremlin.
" Yep.
I thought that no collection of giant monsters would be complete without a simian-esque monster.
So I'm gonna make the overall look very apelike Mm-hmm.
with the carapace and exoskeleton of the crab.
- Uh-huh.
- This is gonna look like - a gorilla in a crab costume.
- Mm-hmm.
I was really happy with the face.
But this is definitely a wrench in the gears.
It'd probably be a good idea to sell a little bit more crab in the face so it isn't all simian, you know, really tie the two together.
- Okay.
- You have a lot of work to do.
- Good luck, guys.
- Good luck.
Thank you.
Fuck.
I want to take Mr.
Westmore's advice to sell the crab more, but I'm not sure what I'm gonna do with the face.
I don't know.
I'm not seeing it.
I don't have time to be thrown off, because I have to still fabricate an entire creature suit, so it's really frustrating.
But at this point, I just have to walk away from it.
Coming up What the fuck? At the end of the day, there's gonna be one person that's gonna be sent home, and it's nerve-racking.
So, I think it's a very successful makeup.
I struggle with this.
I appreciate your swinging for the fences.
Fuck.
It's day one of our giant-monster challenge, and I'm nervous because I'm running out of time today, and Mr.
Westmore said that I really need to sell the crab more, which I definitely agree with.
But I'm not exactly sure what it is about the face that's not really coming together.
I'm thinking crabs have these really long antenna.
So that gives me an idea to put antenna coming off the side of the face, and have them hang down.
That's very old-school monster.
- It's got antenna.
- Yeah.
I get my face sculpt done, and I'm going to start getting this thing molded.
I just need to finish the face today, 'cause it needs to match up with the cowl so it looks like one cohesive head.
Ten minutes.
One thing that's sort of looming over me still is how I'm gonna make these hands and these claws.
Otherwise, it's not gonna read as sloth, and it won't read as a giant monster.
Hey, guys, it's time.
The other thing that's looming over my head is the amount of hair work that I'm gonna have to do.
It's gonna be sort of a daunting task to get all of these things finished on day two.
Whoo-hoo! So, it's day two of our giant-monster challenge, and we have nine and a half hours in the lab.
This thing is, like, barely cooked.
My chest piece isn't completely cured.
I'm squishing the beak, and it's just-- my fingerprints are staying in the foam.
It's totally distorting what I sculpted, and it's pretty much ruined.
I need to figure out something else to do.
Ew.
It's creepy.
I have a very long list of things to do today.
I need to finish my cowl.
I started sculpting a butt for the insect that I need to get finished and molded.
Then I need to, like, fabricate some wings and some legs and a bunch of blender pieces, so I have a lot to do.
My chest piece is so thick, it didn't get baked.
Weird.
Since my chest piece wasn't baked all the way through, I'm gonna run the chest mold with polyfoam.
But polyfoam's a lot more rigid, so I'm pretty sure it's not gonna come out as nice as I would like it to.
But I have to get something.
I pop open my face mold, clean the clay out.
It looks great.
Now it's time to jump on the cowl.
I decide to put some more spikes on it and detail it out a little bit.
I'm feeling a lot better this morning.
I'm ready, I have a direction, and I'm running at it.
- Ew.
Look at his little ears.
- Aren't they gross? They're really gross.
I have to get the cowl sculpture completely finished, and then I have to get it molded.
I'm not the fastest mold maker in the world.
So I know that that's gonna take up a chunk of time in my day, and I still have to get these sloth gloves made.
It's a ton of work, and in a challenge this far along in the competition, you have to do every step of the process justice and give it the attention that it deserves, or else it can bite you.
It's time to start on the creature suit, and I'm designing as I'm putting pieces on.
I just grab some couch foam, and I wrap it in a shape that creates my understructure, and from there, I'm going to cut out segments of L200 and actually layer them on top of each other.
I just keep layering them and standing back and looking at it.
There's no time to waste.
I'm just going.
The arms I'm fabricating are gonna extend my model's arms almost two feet, so I want them to be very long and creepy.
It's just gonna add the giant factor to her.
So I decide to take some foam and roll it up into a cone shape.
I want to add as much texture as I can, 'cause I don't want it to just look like a piece of rolled-up foam, because praying mantises have tons of little, like, spikes at the end of their arms.
So I'm cutting spiky shapes out of foam, gluing them on.
Then I make a piping bag out of some wax paper I find in the lab and add silicone.
Piping bags are used in cake decorating to pipe frosting onto cakes, so I feel like I'm back at the bakery.
I have to fabricate two gloves, get them painted, then get hair laid all over them before the end of the day.
- You like? - Yeah, it looks cool.
Yeah, I got to get the hair on there.
I'm doing hair because he is a sloth, and they are hairy creatures.
But it has to be really well done, or else it's not gonna do my makeup justice and I'm not gonna make it to the finale.
I need to get this whole bodysuit fabricated in way less time than I need.
I'm realizing that I bit off way more than I can chew.
Every new thing that I put on this suit just kills me inside.
I don't really want to be in this position this far into the competition.
This isn't the type of work I want to represent myself with.
I'm not all that proud of this makeup, and it's gonna suck if I go home.
So it's day two of our giant-monster challenge.
And I realize that I bit off way more than I can chew.
Fuck! So, at this point, I just start throwing paint at it.
I'm hoping that my paint work and some of my finishing work can pull it all together, but it's starting to worry me.
So, down to, like, I get enough hair laid on the first glove that I have to move on to the second one, and I just don't have time to do that.
I make a snap decision, instead of doing fur on both sides, I'm gonna incorporate a burn makeup on the other side.
It will add another layer of information to the character so that it becomes a little bit more interesting.
So I mix up some gelatin and then start laying that on the other glove.
The way that I'll work this into the story is the armed forces are shooting fire at him.
I'm really happy with how the paint job is coming out.
The stomach's looking really creepy.
So I'm starting to think that I'm going in the right direction.
Hopefully, everything will come together in application.
- That's fucking crazy, dude.
- I did all of this today.
You're completely insane.
- All right, that's time! - Whoo.
Even with implementing this burn makeup, I feel like, at this point, this makeup is gonna turn out to be silly.
It's a giant sloth monster.
- How do you feel? - Like a zombie.
It may or may not work, and that worries me.
We get back to the house, and we're all exhausted.
This was a crazy challenge.
Dead.
Nobody has any energy at all.
I think we're all a little worried.
Only three of us are gonna be in the finale.
And so this is a really important challenge, and it's really weighing on us.
Oh, man.
Did everyone finish everything they wanted to? - Not even close.
- No.
At the end of the day, there's gonna be one person that's gonna be sent home, and it's nerve-racking.
Let's eat, kids.
Okay.
It's application day.
We have four hours in the lab and one hour at last looks.
Foam come out? It's pretty good-- a few bubbles.
Mine came out really, really nice.
Ew! What the fuck? My foam piece has a lot of microbubbling on the cowl.
Hooray for the worst foam in the world.
I have to figure out a way to make these work, which sucks.
Seriously? - How are you? - Great! - Hey, man.
- Good to see you.
Whoop! Oh, no! I'm trying to, like, work as fast as possible, but the bald cap is just not working out.
Oh, crap.
Okay.
So I guess we have to take it off.
I'm freaking out.
I don't have a lot of time.
So I just run and get a cap, and I throw it on her.
Hopefully, it'll be okay.
Yeah, that's better.
The foam's sort of rough this time.
I realize that the microbubbling is on the burn-makeup side.
It's gonna be covered up anyway, so that's not that troubling.
But I'm worried because all aspects of this makeup have to be perfect because this is the last chance to show the judges that I have what it takes to be in the finale.
The first thing I need to do is hose down my bodysuit with crystal clear, which is an acrylic that will make it a little bit glossy.
See if we can get you into that shirt.
Now I need to get my actor in the top half of my bodysuit.
And that's a pretty big challenge.
- Are you in the sleeves sort of? - Kind of.
It doesn't want to bend.
It's like wrestling, trying to get him into this suit.
Here, bend forward.
There you go.
I hear people laughing.
There you go.
And for a second, I'm relieved of all this pressure and stress - from the finale.
- It's so ridiculous.
But only for a second.
So all my pieces are applied and steamed.
Now it's time to start painting, which is my favorite part, 'cause painting it brings it to life.
I want the face to be very gorilla, but with accents of the crustacean.
So I base the face out in light flesh tone, and over the top of that, I start stippling different alcohol colors, like reds, whites, yellows, browns to do the break-up and make it look like realistic skin rather than a foam piece.
They brought me in for questioning? I'm 3,000 feet tall.
I need to make these eyes look like bug eyes, so I cut a square of mesh, and I place it over the eyeballs, and I airbrush right over it, and it's gonna give the illusion of praying mantis eyes.
I keep looking at the hair glove and how terrible the hair looks.
I want you to start tearing the fur off of that glove.
Get all of it off of there.
That way, Lois won't bitch me out about terrible hair work again.
I make a decision to carry this burn makeup onto both arms, because it's gonna save me from having to put horrible hair work onstage in this really, really crucial challenge.
Oh, come on.
- That's time, guys! - All right.
It's my last chance to show the judges that I have what it takes to make it to the finale.
High five.
I'm looking at my makeup, and the decision to lose the hair could either win this for me, or it could sink me.
Coming up I'm not gonna make it to the finale.
I'm really worried about the tentacles.
Everything's so well executed.
He just bit off more than he could chew.
I really like this character.
We have one hour in last looks, and I'm just doing whatever I can to get this character done.
So I'm just painting like crazy.
I'm so close at this point, if I don't make it, I would be incredibly disappointed.
Is it okay if I glue some of this stuff over this edge here so it doesn't look like shit? I'm moving lightning fast.
I get the black burns all glued down, and I finish the burn makeup with some K-Y jelly, which makes it look like the burns have started to ooze a little bit.
This makeup has to be spot-on, or else I'm not gonna make it to the finale.
You can hunch the shoulders forward.
Can you pull them up? I need to get the pants on and get all the pieces to the body blended together.
You look like squid Elvis.
But everything from the neck down looks hokey.
So the main thing I'm worried about is the tentacles.
The problem is there's this giant cowl piece and these hanging antenna that are gonna have to come through the suit.
So I have to reach in there and guide the cowl through.
Then all of a sudden, the suit pops on.
Ta-da! And I'm thinking, "This is awesome.
He's a giant monster.
" Keep your eye closed for a second.
All right, that's time! Thanks, dude.
- Give me some claw.
- Yeah.
At this point, I'm hoping that somebody else messes up worse than I have.
Welcome to the Face Off reveal stage.
Tonight one of you will be eliminated, and three of you will earn your place in the finale to compete for the VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2014 Fiat 500, and $100,000.
First, let's say hello to our talented judges-- owner of Optic Nerve Makeup Effects Studio, - Glenn Hetrick.
- Hi, guys.
Hi, Glenn.
Oscar-winning makeup artist Lois Burwell.
- Good luck, all of you.
- Thanks, Lois.
Creature and concept designer Neville Page.
Hello, guys and lady.
Hi, Neville.
And joining us again tonight is Emmy-nominated actor Clifton Collins, Jr.
How you guys doing? Welcome back, Clifton.
You ready to see some monsters? Yeah.
All right, guys, this week your spotlight challenge was to use a dramatic newspaper headline and imagery as inspiration for your very own giant monster.
So, with only three finale spots on the line, let's take a look at your monsters.
I am proud of this makeup, and I'm thinking this could get me into the finale.
There's a giant monster standing in front of me.
Even if the judges hate it, I'm happy, because I got to make a giant monster.
My squid walks out onstage, and I think he fits the challenge, but I know that it's not my best work.
I'm starting to get nervous.
If the judges don't like the way that I've approached the burn makeups, then I'm gonna be really screwed.
Judges, why don't you take a closer look at our monsters? The coloring is lovely.
I like the teeth and the patterning on the eyes.
It's just one of the few times that an eyehole does not really feel like an eye hole.
- Yeah.
- I love the incorporation - of the mantis's camouflage.
- Yeah.
- It's really beautiful.
- Thank you.
From the front, it's a unique, interesting Yeti-type face.
It's from the side that you really see the crab.
- It's a good shape.
- Yeah.
_ The fact that he was able to do all this is fascinating and intriguing to me.
He doesn't look happy, does he? These things were, in Japanese cinema around the '60s, very hokey.
I think he was going for that feel.
I like the nostalgia of the old Japanese, '60s throwback.
Can you turn around for us? - It's not a bad side view.
- Yeah.
You never know what the judges are gonna like or what they're gonna hate.
And we're so close to the finale.
It freaks me out just thinking about it.
Which three artists do you think will make it to the finale? Tell us on Twitter, using #FaceOff.
I kind of like the transition into the mouth and then down to the shoulder.
That's an interesting idea.
I'm not feeling great, but I'm hoping that the judges at least like how I did the cowl.
Thank you.
I like that he just went right-- "I've got a sloth head, sloth hands.
" Then the rest he just made up just to keep moving.
It's a good sculpt.
Sloths are silly-looking characters and cute.
There's no getting around it.
- He's very appealing, isn't he? - Yeah.
I think there's some really nice paint textures going on here-- simple, quick, but broken up.
Thank you.
The judges would now like to speak with each of you to learn more about your work.
Drew, you're up.
Drew, tell us about your giant-sloth character.
He was brought to the mainland as a zoo attraction, sort of like King Kong, and he broke loose and started destroying and going crazy on downtown Shanghai.
They tried to fight him off with flamethrowers, and his arms caught fire, so that's why the burns traveled up his arms and on to the sides of his head and to his chest as well.
You've created something that feels successful within this challenge.
I love the combination of techniques, both in your painting approach and the overall fabrication.
I just think you could have handled the burn - with greater finesse.
- Thank you.
I really like this character, I have to say.
It was a wise decision to go for the hands and the head.
I think it's a very successful makeup this week.
I don't get the sense that you've modified the physicality to accommodate gigantism.
But the way the sculpture and the design sustains the character is what's really beautiful about this.
Thank you.
The sloth face is just so real-looking.
- I love where your head's at.
- Thank you very much.
- Drew, please step back.
- Thanks, Alex.
Cig.
So what can you tell us about the Yeti crab? He was a mutant byproduct of the Chernobyl disaster, and the Russians discovered him, but he couldn't be controlled, and he busted out, and he starts crashing through Russia.
There are some elements within this that are absolutely lovely, particularly the face.
Could you turn sideways? Thank you.
When we see him in profile, I think it works exceptionally well.
- Well done.
- Thank you.
There are some great forms in that face.
Where I struggle with this is I don't see much of the crab aesthetic happening.
That feels more like a bumblebee, and that is a subjective thing, so don't take that too much to heart.
I totally get what you're saying.
I love what's going on.
I love the shadows, and I really like the mix of fur and shell on the back.
- You did a pretty sweet job.
- Thank you.
Cig, you can step back.
Thanks, guys.
George.
George, tell us about your giant creature.
He's based in the city of Dubai, which is kind of known for their excess.
So they had the biggest zoo in the world, where all the animals were genetic experiments, and this guy was the biggest, and he broke out and then went on a rampage in Dubai.
Where I think you've really succeeded is particularly in profile with the head.
That's the George that we've come to know, 'cause you're a pretty fantastic sculptor - and technician.
- Thank you.
The color work makes it feel a little playful - and less of a threat.
- Mm-hmm.
It takes me back to my childhood.
I remember the squid monsters and big giant robot and things like that.
- So thank you.
- Thanks.
I'm heavily approving of the sarlacc pit of the stomach that you built.
Like, it's a really great idea.
I appreciate your enthusiasm and that you were swinging for the fences.
Thank you.
George, please step down.
Dina, you're up.
Please step forward.
Hey, Dina.
You want to tell me a little bit about mantis? She is a praying mantis who really had a taste for the heads of her mates, so she ate tons of them, and to satisfy her hunger, she worked her way up the food chain to the big city, where there are thousands of men for her to feast on.
Really blown away at the detail.
The head's really beautiful and the detail in the eyes, I love just looking at her.
Good job.
Thank you.
I really do love the model's eyeholes.
Feels completely part of the head.
- My goodness, I really like it.
- Thank you so much.
Everything is so fitting and so well executed.
Every square inch has been addressed in some way.
- I love it.
- Thank you.
Dina, please step back.
Good job.
All right, guys, the judges have heard what you have to say.
If you please head back to the makeup room while they decide who will move on to the finale.
- Thank you.
- Thanks, guys.
All right, so the question at hand is, whose monster helps secure them a spot in the finale? So why don't we start with Drew's sloth.
I feel like he spent all his time on the head.
The expertise really showed.
I mean, the head was almost close to perfect.
The problem is he gave us a really nice sloth head and some really nice sloth claws, and then not-so-good burn makeup.
I do think the burn makeup is disappointing.
It could have been more proficiently expressed.
Absolutely.
So I'm on a fence about Drew, honestly.
All right, let's move on to Cig's Yeti crab.
He chose to do a literalized "Yeti meets crab.
" I happen to not like that look.
But it not only feels like a Japanese giant monster, it actually feels Japanese in its design.
So, for this challenge, I love it.
The thing that I really enjoyed was that samurai look, particularly around the face.
The guy's just so at home.
He clearly loves Japanese monster movies.
All right, let's move on to George's squid.
The form language on the head is a standout on the makeup.
You can see the elegance that George possesses.
I'm very fond of it.
He looks as if he's a plaything from Doctor Who.
And there's something so delightful about it that I've sort of forgiven the fact that it isn't well executed.
He just bit off more than he could chew because he wanted it to be amazing and big.
When he chose to tackle the eight tentacles, I think he just went south really fast.
All right, let's move on to Dina's praying mantis.
The most impressive thing is the fact that every square inch of this character has been addressed.
Yeah, that color, the shape, the sculpt through here-- I mean, it's lovely work.
And think about the actual surface area that she had to paint.
- The painting's beautiful.
- Yeah! I mean, granted, it could have done with maybe a little bit more variation in color.
But that is really just a bonus.
All right, judges, so have you decided who should move on to the finale? - I think we have.
- Excellent.
Well, Clifton, thank you so much for being here with us tonight and helping us select our finalist.
Thanks for having me.
I had a blast.
All right, well, let's bring them back out and award some finale spots.
I just like the fire.
There's fire! We walk out onstage, and there's swords and torches.
I don't know what's going on.
Oh, God.
Welcome back.
As you can see, I've done a bit of redecorating.
- It's lovely.
- Now, the things you see around you are related to our finale challenge.
Before I can tell you more, you need to earn your spot.
So let's find out who is moving forward.
Glenn, who is the winner of this challenge and the first person to make it to the finale? The first person joining us in the finale 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 joining us in the finale is Dina.
Yes! Yes! Thank you.
We would have been happy with your mantis if two people would have worked on it.
So the amount of success that you achieved by yourself is all the more impressive.
Thank you so much.
Aah! Holy crap.
Me? The first week I was here, I didn't think I measured up to anyone, so this feels so amazing.
- Dina, congratulations.
- Thank you.
You've earned the first spot in the finale.
Yes! Thank you.
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 is Cig.
Whoo! We loved the throwback nature of your concept, especially in profile.
The striated edges were a really great way to show off the crab aspect.
Thank you guys so much.
I honestly didn't think I was gonna make it this far, and now I'm in the finale.
Like, this is amazing.
Congratulations, Cig.
You've earned the second spot in our finale.
All right, we have two artists left and only one spot.
So, Glenn, who has the final spot in our finale? Here I am, almost at the end.
I can see that $100,000.
Being eliminated right before the finale would be devastating.
I want to be a finalist, and I think I deserve to be there.
The last person moving on to the finale is Drew.
- Drew.
- Oh, my God.
Thanks, George.
You made a very smart decision to focus on the sloth elements of your character, which gave you the time to deliver a very successful sculpture - and a beautiful paint job.
- Thank you.
Congratulations, Drew.
You've earned the last spot in the finale.
Thank you so much, guys.
I'm dumbstruck.
Being a finalist is beyond what I'd ever hoped for, and I'm so happy and so grateful to have this opportunity.
Unfortunately, that means, George, you have been eliminated.
George, you can't get too down on yourself for making it this far.
You have delivered some amazing makeups this season.
Unfortunately, this week you just weren't up to the work - of your peers.
- Yes.
George, it's been so great having you here with us.
But if you would please head back to the makeup room and pack up your kit.
Thanks, guys.
Good luck, George.
I'm out! I'm pretty disappointed, but I've done some work that I'm really proud of.
I got to make 13 monsters.
That's really cool.
I love doing this stuff so much.
So I'm gonna go back to my house, finish building my shop, and keep making monsters.
Only one challenge remains between one of you and our grand prize.
Oh, God.
We will end the season the way we began-- with life and death.
And I've got several surprises in store for you.
Oh, my God.
Without a pause for a breath we're going straight into the finale.
Shit! Oh, God.