Face Off (2011) s09e10 Episode Script
Freak Show
I just love what you've done.
- I think it's fantastic.
- This is gorgeous.
You should be very proud of yourself.
Thank you.
I appreciate it.
Previously on Face Off Evan rode his horrific horseman to victory, but Kevon fell short and was sent home.
It's me.
And tonight the artists will take a trip under the big top.
Welcome to the circus! I'm going big on this challenge.
Is it too crazy? It's pretty crazy, but I like it.
This is a really great opportunity to go nuts with our designs.
My gut's telling me that this isn't right.
She's a frickin' mess.
Best thing you've done on the show.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Whoo! We walk into the lab, and here's McKenzie with seven models and seven weapons in front of them.
I'm excited for this one.
I like weapons, sharp things.
They're cool.
- Those are cool weapons.
- Very cool weapons.
- Good morning, guys.
- Good morning.
In ancient cultures, warriors used body paint, tattoos, piercing, and scarification to intimidate enemies on the battlefield.
So, for today's Foundation Challenge, you'll be creating your own intimidating tribal warrior makeup inspired by a unique weapon.
- Wow.
- Cool.
I think this is a pretty cool challenge.
I'm looking forward to doing a messy, nasty warrior makeup.
Now, your judge for today's challenge has done it all.
Her résumé includes huge blockbusters, like The Twilight Saga and Oz the Great and Powerful.
However, it was her incredible work on Dallas Buyers Club that won her an Academy Award.
Please give a warm welcome to the amazing Robin Mathews.
Awesome.
I'm googly-eyed when she walks in.
She's definitely well-fitted for this challenge-- very organic, and that's what I'm into.
As fellow makeup artists, I'm sure these guys would love to hear what it felt like to win an Oscar for the first time.
It wasn't that big of a deal, really.
No, totally kidding.
It was the shock of my life.
I'm living proof that if it can happen to me, it can happen to each and every one of you guys.
One of the biggest things that we've heard about Dallas Buyers Club was how you had to be so creative and resourceful with such a low budget.
Yeah, you know, it was all paint and powder.
I did a lot of highlight and contour to make the actors look heavier or lighter without prosthetics.
- Truly amazing work, really.
- Thank you.
Okay, guys, there's one more requirement to this challenge.
Ancient warriors didn't restrict their palette to just the face, so you'll be applying makeup to your model's entire upper bodies.
Oh.
This is just even a harder Foundation, 'cause now we have to accomplish so much more in so little time.
Thank you, gentlemen.
Why don't you go ahead and grab your weapons and take a seat? All right, guys, so the winner of this Foundation Challenge will earn immunity in the next Spotlight Challenge and cannot be eliminated.
You have two hours for this challenge, and your time starts now.
Whoa! - What's up, Kevin? - Evan.
Let's take a look at this thing.
Let's go look at some wardrobe.
All right, buddy boy.
My weapon is this badass club with metal embellishments on it that I'm gonna emulate in some really authentic-looking scarring.
So I mix up a little Artex, take a popsicle stick, and start laying dots and slashes in the shape of my weapon.
Let's definitely do some scars on the face, and then we'll start painting your ass.
I'm incorporating the colors and feathers for my weapon.
by using your feather as a stencil.
This is great.
It's like you're creating techniques, that's really nice.
Awesome.
I'm probably just gonna base you out in this stuff and then go in and grab the airbrush.
I immediately think of the cultures that would use mud or a clay on the body.
So I start mixing up WED clay in water and add a little bit of coloring to match the palette of the tomahawk.
Once it dries, it begins to crack because it shrinks.
Yeah, I love that cracking.
That's exactly what I was hoping it would do.
I'm influenced by the line work of the magenta on the staff, but somebody's who's going to make a rock on a stick for their weapon is not going to have a paintbrush and do beautiful line work.
They're gonna take their hands and swack it on, so I just go nuts with it.
Ten minutes, guys! You have ten minutes left! That's it, guys! Time's up! - Brushes down! - Whoo! Tell us about your tribal warrior.
So the weapon-- they had this gnarly-looking thing.
I wanted to incorporate abstract structure in the paint, and I wanted to go with the blue because of the blue beads on the end of the weapon here.
I love the choice of colors.
The only thing I didn't see was tattoos.
- Other than that, great work.
- Thank you.
I mixed WED clay in with the color pigments to give it a very organic, earthy look and pulled some of the colors out of here to tie this all together.
That's brilliant, because you've got the flaky, crusty look.
It's wonderful.
I wanted to keep it really primitive.
I didn't feel like there would be a ton of intricate designs.
It's incredible how you put the simplicity in this, but it's so detailed.
It's really tied together well.
So this is my tribal warrior.
He's also a cannibal.
I did some scarification that matches this design.
So I wanted to bring that out in the paint job.
I'm loving the coloration, and this is a nice speckled effect of dirt, very avant-garde.
- Pretty brushstrokes too.
- Thank you.
There's a lot of amazing warrior makeups out there.
This is gonna be a really hard one to judge.
Okay, Robin, so how did they do today? I'm flabbergasted.
I thought the work was beautiful.
Congratulations to you, guys.
Thank you.
So who created your favorite makeups today? Meg-- your work was so realistic looking.
The dirt, the blood, I'd put this on camera on a film right away.
Thank you.
Also Scott-- your colors look very earthy and so ingenious-- your use of clay to make it look like cracked mud.
- I absolutely love this piece.
- Thank you.
Okay, who is the winner of this challenge? The winner of this challenge is - Scott.
- Yes.
- Yeah, buddy.
- Yes.
Scott, your ingenuity was beautiful.
I know a little something about having to use products in a different way from what they're meant to be used, and you followed through, and I loved it.
- Thank you.
- Scott, congratulations.
As the winner of today's Foundation Challenge, you have earned immunity in the next Spotlight Challenge and cannot be eliminated.
I am on top of the moon.
The tighter the competition gets, you need that immunity.
This is an awesome feeling.
Great job today.
I will see you tomorrow for your next Spotlight Challenge.
- Bye.
- Thank you so much, guys.
- Nice meeting you.
- Nice to meet you.
- Thank you.
- Killed it, dude.
- Good job.
- Yeah, buddy.
Scotty! - Ooh.
- Ooh.
- Freak show.
- Yes! We walk in, and the whole lab is done up like an old-time freak-show circus.
"Elephant lady.
" - So good.
- We're all super stoked.
- Oh, my God.
- Right? Yes.
- Hey, guys.
- Hey.
Welcome to the circus, Face Off style.
Nowadays, carnivals are all about family fun, delighting millions with their games, rides, and performers, but once upon a time, they often misled the public by using fantastic act names like these to lure in paying customers.
However, they usually ended up being a major disappointment, rather than awe-inspiring.
But today you're gonna have the chance to change all of that.
Your Spotlight Challenge is to take one of these sideshow acts and create the fantastical character that really would have wowed audiences.
I'm very excited for this challenge.
This is a really great opportunity to just go nuts with our designs.
In the spirit of the circus, you'll each step right up and take a spin on the wheel to find out which freak-show act you'll be creating.
Nora, you got first spin.
Lobster Larry it is.
Oh, cool.
Nice.
You have Icicle Irma.
All right, guys, it's time to pick your models and get started on your designs.
Good luck.
Have fun.
- Thank you.
- Bye.
Okay, I got to tell you my idea.
I want you to tell me if it's crazy.
Moon Girl's hard, but I just want to hear your opinion.
So, when she was little, she got hit in the head by a meteor that made her head swell up, and then she just went through high school and just had, like, the worst acne you've ever seen.
It's pretty crazy, but I like it a lot.
Is it too crazy? - Is it, like, Kevon crazy? - No.
I just think it's a really funny idea, but my biggest concern is making it look like a swollen, crater-face acne head without it being crappy.
Hey, do you have both of those dermatology books? No, I just have one dermatology book.
You can take it for now.
Go nuts.
Cool.
Ugh.
Hey, let me know if you see elephantitis in there.
My concept is a woman that was actually born at the circus with a more rare and more literal form of elephantitis.
I'm planning on doing a face, a cowl, and an arm.
I would really like to incorporate an actual elephant trunk just to make it kind of fantastical.
I think it's gonna be pretty freaky.
My concept is that Icicle Irma is actually born with a blue, icy skin condition that makes her famous, but on the way, she becomes coldhearted and gets attacked with acid that melts half of her face into what looks like icicles.
It's definitely a risk, 'cause icicles are a tough thing to sculpt, so that's going to be my main focus today.
Inside-Out Oscar has, like, a skin disease that causes him to molt, and that's what makes the inside come out.
I want to do a skull with an exposed brain, but it's definitely something that needs intense anatomical precision, because it's easy to spot if it's bad.
Also not knowing bones, musculature, or the cardiovascular system at all, I've got work cut out for me, but I feel like I can accomplish it.
My character is the Human Peacock.
He is the presenter of the show, so probably, like, real flashy, like, in a suit, and he'll have, like, a really cool collar that's got a bunch of peacock feathers on it.
I start sculpting a human face that's elongated with a mouth and nose that look like a beak.
After having experienced the bottom in the last challenge, I realize that I don't want to be back there ever again, and I hope it's gonna help me do better this time.
I have no idea what to do with Lobster Larry over here 'cause Lobster Boy's been done every way you can think of.
I don't really have a solid concept yet, but I'm trying to just let the clay speak to me.
I'm putting lobster anatomy into it, but it's starting to look like a mask.
I just am not feeling it right now.
Fuck.
This is gonna end up looking like a mask.
It's already too big.
My gut's telling me that this isn't right, and there's no room for error at this point.
So, if I'm not sure of what I'm doing, I got to rethink this concept and start over.
I don't know where to go, but I know I need to not go in the direction that I was going.
I'm completely lost right now.
Starting over? Yeah, it looked like shit, dude.
It didn't make any sense.
At this point in the competition, you got to make sure your shit's on point, so I got to totally rethink this concept.
Just don't stress about it more.
No, I know.
I think I want to keep him more human than creature man.
So my new concept is that he's gonna be Larry the Mobster Lobster, this fantastical '40s character, but he gets seen by the law one night, and he has to hide out at the freak show.
So, as much as it sucks to start over and as nervous as it makes me, I think in the long run, it's probably a much better idea.
Oof.
I feel better now.
Hey, guys, we're here to check in on you.
- Hey, guys.
- Hi.
Okay, so tell my dad here who you got today.
I got Twisted Tom.
I'm gonna have a skin condition that drapes using the dental dam, and that'll tie in with his face that has this twisted, deformed look to it.
With the eye, you're still going up here, as opposed to gravity pulling the eye down into the direction of your twist.
Right.
So pull the lower lid as well as the upper lid.
Right.
So I got the Elephant Lady, so I'm thinking of going with the elephantitis type of thing.
I'm thinking about removing some of this part of the face.
I think you should.
Take a good chunk out here and just blend that into the face.
I have Inside-Out Oscar.
When I think of "inside out," I think of the muscle structure.
Mm-hmm.
But I would go ahead and take your sculpture, take it back here further and get that jaw in there, and then get down in there in your throat so it's more of a complete makeup.
When you get into your muscle structure, make sure you make your striations deep enough, so when you paint them, they're gonna show.
Awesome.
I have Icicle Irma.
Icicle Irma.
It looks more like boils, and the reason why that is, because you've made them round.
And the other thing I think would be great is, to really save yourself time, I would leave this side of the face.
- Okay.
- You don't need to do this, especially this blend around the nasal labial fold.
Okay.
So I got Moon Girl.
What I'm really concerned about-- this is so subtle.
Mm-hmm.
I don't think the judges are gonna read it.
Over here, you've got to get really more aggressive.
Go ahead and fill this in a little bit and take it down onto the throat.
You need to show the aggression you have going here.
- Okay, cool.
- So I've got Lobster Larry.
Okay.
I don't want to do big, static bug-eyes.
I wanted to go more subtle with it.
It's not enough, I don't think, to sell the lobster idea.
It just needs more.
Even if your sockets here are maybe even just a little teeny deeper, okay? All right, cool.
All right, guys, we're heading out.
Can't wait to see your freak show.
- Looking good! Freak me out! - Bye.
- Thanks, guys.
- Good night.
I'm very happy with the sculpt.
I feel that I've taken Mr.
Westmore's advice and accentuated that twist to the side, so I need to get this thing molded.
I don't know what to do anymore.
That really just threw me for a loop - Yeah.
- What he said, you know? Towards the end of the day, I feel really lost.
Mr.
Westmore said my sculpture needs to just be more aggressive, and I totally agree with him, but I don't know how to sculpt acne to make it look more aggressive.
I have no idea what I'm gonna do.
All right, all y'all, it's time.
I just feel super lost, and I kind of feel a little bit hopeless, and I just need to come back and see my work through fresh eyes.
- Tomorrow's a new day.
- Yep, that's right, buddy.
So I got to really think about what I'm doing tonight.
I thought about my face all night, and the first thing I do is go in and just completely start over.
Sorry to do this to you.
It's just driving me crazy, and I'm gonna make her chin come out and her forehead bulge out to give that crescent moon shape and then sculpt the acne on top of it.
I can't believe how lost I was on this one.
It's gonna come together, big guy.
I probably don't have enough time to get it to where I want it to be, but I think that it's always good to take a risk here and there, because if you don't push yourself, I don't think you'll ever advance.
The first thing that I need to get done is these icicles.
I need to figure them out.
I decide I'll just glue down strings and then have the hot glue drip down them to create icicles.
You know, it's good.
These look great.
This one looks really good.
As I'm doing it, they're actually pretty effective.
The hot glue stays that translucent color, but it still creates this drippy effect.
Once the hot glue dries, I take them off the board, and I'll be putting them into my sculpt so that I can glue them on to my foam piece once it's molded.
I finish my face mold.
My cowl sculpt is looking great.
Once I see how far ahead I am, I decide to sculpt an arm and chest appliance.
I'm going big on this challenge.
That's the pleasure of the immunity.
I can start it.
If I run out of time, it's not gonna have that big of an impact.
I still have the dental dam as my parachute, so it's a win-win.
For the first time ever, I got my mold done on time, but I realize the edges are sealed and I'm not gonna be able to get this mold apart.
This spot is fused.
Like, it's just - All the way through? - Yeah, I think so.
Now I have to hammer away at this thing and hope that it doesn't ruin all of the work I did.
I am in big trouble.
I'm not gonna be able to get this mold apart.
I'm in really big trouble.
Do you need help? No, this spot is fused.
Like, it's just-- - All the way through? - Yeah, I think so.
Thank God Scott comes over and helps me, because I'm panicking.
Let's get you out.
This is a competition, and only one of us is gonna win $100,000, but it's hard for me to see someone struggling and not help.
Almost.
Oh, whoo! You're the best, Scott.
Thank you.
I'm finally gonna have a cowl in foam latex.
Oh, you're a lifesaver, Scott.
Oh, yeah.
I'm doing an arm piece.
I want to add that into the more bulkier side of this character.
I grab one of the mannequin arms and wrap some sheet foam around that, and then I grab some foam balls, cut those in half, and place them where I want.
I then skin it with some spandex, and then I start stippling latex down on top of that.
That totally looks like cotton candy.
I'm actually really hungry now.
I can't have Lobster Larry without lobster claws, so I start sculpting these lobster claw hands and get done super-duper fast, but I know molding these is gonna be a real bitch because he got these thumbs on him that, unfortunately, I can't remove.
Worst-case scenario, I fabricate something tomorrow.
- It'll work.
- Yeah, whatever.
Fuck it.
Oh! It came out perfect.
I'm designing a really cool collar for my Human Peacock.
I take a sheet of Worbla and L200, heat-form those to the mannequin.
Once that's all put together, I spray-paint it black, and then I layer the peacock feathers down the collar, and I think it's really gonna be a really awesome accent to my makeup.
Looking cool, dude.
- Whoa! - Whoa.
That is time, guys.
At the end of day two, I'm nervous.
There's nobody in this competition who's been in the bottom as much as I have, but I'm a fighter, and I just need to keep punching forward.
Good luck, everybody.
Sweet baby Jesus, it worked.
What the fuck, man? I get into the lab, and my face piece is a nightmare.
- Is yours ripped? - Oh, yeah.
- How bad? - Check it.
The little thing here, up here.
I really wanted to focus on my paint job today, but now I have to patch this up.
Look at that, dude.
That's mangled.
I'm in the same boat as Ben.
I'm just hoping the zits and moon texture will help hide the bad edges.
Well, at least she's got a fucked-up face.
True.
Hey.
Yay! Today you're gonna have elephantitis.
Let me zip you up.
My model arrives.
I get her in costume and start applying her bald cap.
It's gonna take a lot longer than usual, and I got to make sure the bald-cap edges are perfectly blended, since they're gonna be exposed on the one side.
Perfect.
Trying to get it blended as good as we can.
So far, all of my edges are pretty darn good.
I'm happy with the cowl, the face, the arm, but I'm thinking about this chest piece.
It's a lot of time.
We got 2 1/2 hours.
I know if I can skip the chest piece, I'll have that much more time to do paint.
I like it.
Well, let's get it done, then.
But I have no middle gear, so I just go for it.
Let me put a little powder on there.
I get all the edges laid down the best I can, and I know that I need to start painting it since I'm doing a flesh tone that's gonna have so much fleckling and color.
I just want it to match her as best as possible, so I ignore a lot of the edges and just start painting it.
The seam line on my cowl is kind of thick, but as I was sculpting my face, I planned to make raised boil areas, transitioning over to the model's actual face, so I'm using Kryolan TuPlast, and it's really helping to hide all of my edges.
It's gonna be an awesome character.
Hold on.
Oh, great.
Face goes on great, but there are gaps where I didn't sculpt anything, so I just start cowl patching frantically.
This is not my best face prosthetic, so the only way I can save my makeup is with a really killer paint job.
Let's do this thing.
Basically, you're a big-- you're a mobster dude.
You're Larry the Lobster Mobster.
So application's going really smoothly.
I managed to get the skin tone matched perfectly to his, and then I start going in with the airbrush to do some cool detail work, but it's getting down to the wire, and the only thing I'm worried about is if I'm gonna have enough time to put as much detail as I'd like to into my paint job.
One hour, everybody! I'm glad you look like a bird.
Everything is finally patched and applied, and I'm basing him out in a deep mauve so that when I start putting the flesh tones over it, I have the red breakup already there.
- Spatter.
- Spattering? Yeah.
Then I go over that with greens and blues and yellows.
It's looking pretty awesome.
Ten minutes left, guys! At this point, there's not a single icicle on her.
I still got to glue and blend in 15 of them and then, on top of that, get the beauty makeup on.
It's a lot of stuff for Last Looks.
That's time, everybody! I'm really scared.
It's gonna be down to the wire.
It's Last Looks, and I have to get all of these icicles and get the paint job cohesive and get the beauty makeup on.
This is a ton of work for one hour.
Rotate a little bit more for me.
The makeup that I laid down in applications was just the base, but then to bring out that realism in that paint, I have to spend a lot of time freckling.
Keep your eyes closed.
Glenn has told us time and time again to pay attention to those details, and I feel that that is what's gonna sell this onstage.
It's eyes-closed time.
I finally started tightening up that paint job.
It's getting spattery, so there's dimension I guess.
I'm hoping that my paint job can save me.
We'll see what happens.
Oh, God, this is so gross.
Even though I have to get the lobster hands painted quickly, I can totally see Lobster Larry coming to life.
Everything's lining up and looking good.
Ten minutes, guys! Thanks, man.
That's time! Brushes down! You look fucking scary, dude.
Time's up.
My character's done, and up close, she looks horrible.
But from far away, she doesn't look half bad.
I'm hoping I'm gonna be safe, but I know that there's a chance that I'm gonna be a bottom look.
Oh, it's just so ugly.
Look at that.
Welcome to the Face Off reveal stage.
You know our amazing series judges-- owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick - Good evening.
- Hey, Glenn.
Oscar and Emmy Award-winning makeup artist Ve Neill - Hi, everybody.
- Hey, Ve.
And creature and concept designer Neville Page.
Hello.
- Hey, Neville.
- Hi.
Okay, so this week your Spotlight Challenge was to create a fantastical version of freak-show characters that would wow a paying audience.
So let's see how they turned out.
He is really scary in his full twist.
I'm very proud of the way that this came out.
This makeup is one of my favorite things that I've done so far.
I think I'd pay five bucks to go see Larry.
He is the Peacock Man, presenter of this carnival.
Up to this point, this might be my favorite makeup.
I don't know if the concept reads through, but she's still beautiful, and she definitely has a presence onstage.
With everything that I was able to accomplish in this challenge, I'm hoping that I'm either a top look or safe this point.
I'd really hate to go home on this makeup.
I think he looks really creepy and weird.
But in comparison to work I've done, this is not a good representation of what I can do with my skill set.
The judges are kind of smiling, but I want them to stay at their desk.
Please.
Okay, judges, it's time to take a closer look.
Overall, I think the whole vision is kind of great.
There's a lot of work.
I wish that Scott had taken the opportunity here to use skin disease as cover-up for an edge.
Okay.
I think it's a solid observation in terms of color right before you cook them up and they're all delicious.
They're yellows and oranges, and they go red in the pot, you know? Works for me.
I'm getting hungry.
Right.
It's pretty cool.
Dude, I'm loving this up close even way more than I did from afar.
Can you open your mouth for us? I just want to see where your-- It's a nice realistic sculpture on that lip.
I really think that what she's doing here conceptually is very interesting.
I just don't know if it reads "Icicle Irma.
" She's got all this luminescent paint on her hands.
Why didn't she use any of it on her face? I'm worried the judges are hating my makeup.
It's a weird concept.
It's a weird character, so I'm really concerned that this one could send me home.
All right, guys, it's time to get on Twitter and tell us who made your favorite freak-show act, using #FaceOff I just don't know if it reads "Icicle Irma.
" I'm worried the judges are hating my makeup.
I know it's a weird concept and a weird character, but I hope they like it enough to keep me.
She's got all this luminescent paint on her hands.
Why didn't she use any of it on her face? Yeah.
Good God, I'm gonna have nightmares about this thing.
I'm gonna have them right now.
All the surfacing feels like earth, rock, stone.
It doesn't feel like elephant hide.
I don't know if I agree with the coloring, but this is really a nice paint job.
Yeah.
It's very simian-looking from far away.
Yeah, that's my biggest note too.
And it's mostly because the muscle has been brought out.
Mm-hmm.
I don't even mind the straightforward approach of, you know, let's peel the skin off, but this is some straight up Party City shit going on right here.
Oh boy.
There's literally nothing on her body.
It's all just on her face.
Like, I don't buy the disorder, whatever it might be.
She's got the redneck trailer makeup down pretty good, though.
- Yeah.
- On the eyes.
Yeah.
Right on the cheeks.
- Nailed that.
- Yeah.
Nailed it.
Okay, guys, the judges have scored your creations.
Let's find out what they thought.
Scott Jordan Stevie congratulations, because you are all safe and can head back to the makeup room.
- Thank you.
- Thanks.
All right, that means you guys are the best and the worst this week, and the judges would like to hear from each of you before making their decisions.
Nora, please step forward.
Tell us about your concept for Lobster Larry.
When he was a wee baby lobster, the mob found him at the fish market.
Whenever they need to put the clamp on somebody, they take him out.
But he gets spotted one night by the law, and he takes refuge at the freak show.
Overall, I think it works for this challenge.
It's what it was that we were asking you to do is come up with this, like, hybrid between what the actual deformity might have been and a fantasy version of what they would really look like.
I like the idea.
I like the storytelling.
I think you had a pretty clean application.
Thank you.
I really like what you did on his shoulders, the modeling on his shoulders.
I wish I would've seen more of that throughout the paint job.
His hands are really good-- they made me very hungry.
Now I have to go home and have some lobster claws for dinner, I guess.
What was the point of the teeth? I saw the gold teeth, and I thought they were kind of cool, so I threw them in there to give him a little edge.
Kind of makes him a grilled lobster, I guess.
- Yeah, there you go.
- Oh! - Zing.
I like that.
- Yeah, baby.
You've been waiting with that all night.
You probably had that three hours ago.
Actually, I thought of that, like, a year ago.
Um There's nothing really in the face that conveys lobster, but what you have done with the forms is really good.
Thank you.
Nora, please step back.
Thanks, buddy.
Meg, please step forward.
Hey, Meg, tell us about your freak-show character.
So Inside-Out Oscar-- he has a skin disease that causes him to molt.
Since he can't, obviously, hold down a job at McDonald's if his skin is falling off, he is part of the cirque.
I think you missed a really good chance to do something really cool with this instead of just ripping his skin off.
He has a very monkey-like face.
Did you notice that when you were doing it? No.
There's just way too many things going on in this makeup.
There's no place you're really focused except for right here, and that has-- as I said, that has a very simian look to it, which throws me off, and I'm not fond of the paint job.
The biggest miss is the inside-out element because what you've conceived is just skin sloughing off.
It's like, that's not Inside-Out Boy.
That's Skin-Disorder Boy.
If you're gonna do a skull face, it had to be really good.
That's where it falls down.
You needed to do some muscle and gristle in between the bones.
There's a lot of sculptural problems, and then you have fabricated skin stuff slopped all over it, so it feels like you never found your footing, unfortunately.
- Meg, you can step back.
- Thank you.
Ben, please step forward.
Tell us how you arrived at this circus freak.
What I ended up settling on is a form of elephantitis in the face that gives him a beak-like characteristic.
I really, really like this piece.
In terms of the craft and balance, just big enough a nose, just pronounced enough in the lips.
And how you addressed his profile, in particular, are all so very well-handled.
Thank you very much.
The form-- best thing you've done on the show - Thank you.
- Hands down.
The fact that you took this into the fantasy realm but kept it human enough that it almost looks like a deformity, that, to me, is the heart of this challenge.
Thank you very much.
You enhanced his eyes just enough to give him some really fabulous kind of flair.
And I love the beautiful, blue-green iridescence in his cheeks and his forehead.
He's fabulous.
Awesome.
Thank you so much.
Ben, you can step down.
Thanks, man.
Thank you.
Nice, dude.
- Thank you.
- Good job, buddy.
Thanks.
Evan, you're next.
Evan, tell us about the concept for your Moon Girl.
She's had this skin disease, but she also, when she was a little girl, got hit in the head with a meteor.
I just thought it was funny.
I wanted to make it a little more comical, and a little more fantastical, so I don't feel like I did the best job in the world, but I like her as a character.
She's somewhat of a failure.
Yeah.
And I think that is your confusion.
You know, there's some really rough sculpting.
Yeah, I know.
I am embarrassed with the sculpture myself.
I really appreciate the fact that you can own something that didn't go straight for you, and you're standing next to it going, "Here's what we got.
So let's talk about it.
" Yeah.
Yeah, she's a frickin' mess, dude.
It's too bad that she didn't come out better, because your idea that you finally came up with is actually pretty damn funny.
There is beauty in the grotesque, and that's what this is devoid of.
There isn't much beauty to appreciate.
Evan, please step back.
Thank you.
All right, guys, if you'd please head back to the makeup room while the judges deliberate.
All right, judges, let's talk about tonight's makeups.
Why don't we start with Nora? Sculpturally, quite excellent.
It was low profile.
It didn't build up too much on the face.
I thought it was an excellent makeup.
The outfit, the backstory, the hat, the juggling, those all help to say "circus sideshow.
" I didn't even mind the wraps on his hands.
It was a really clean sculpture-- cleanly applied-- but it didn't come together for me.
All right, let's move on to Ben.
Nailed it.
He made him into such a dandy.
It was fabulous.
It was clean.
The sculpture was beautiful, all that texture in the face.
I love that he brought the face out like that and made it feel like a bird with human anatomy so it ended up like this fantasy sculpture.
It's so, so cool.
All right, let's move on to Meg.
Nothing about this said Inside-Out Oscar.
He's just a dude with his skin ripped off.
If you're gonna do that, do that well, but it's not.
It's not sculpted well.
It's not painted well.
And it looks like a primate.
Everything about it was wrong.
She did a horror makeup.
And it just didn't work for me.
All right, let's move on to Evan.
It's Evan's roughest work to date.
I think using a skin disease and trying to turn that into a moon-- it's not a bad idea, but he just couldn't find a way to physically represent that concept.
He could have just done that pock-marked skin.
Using appliances everywhere-- had 'em on her arms and everything.
He didn't need the meteorite story.
He'd worked in bad skin conditions to kind of indicate acne as crater.
That's it.
That's all you need to do.
Now execute it well and keep it subtle.
All right, judges, have you made your decisions? - Yeah.
- We have.
Fantastic.
- Let's bring them back out.
- Okay, let's.
All right, Glenn, tell us about the top looks.
Actually, there's only one top look tonight.
All right Glen, tell us about the top looks.
Actually, there's only one top look tonight.
Ben, you are the winner of this challenge.
Thank you, guys, very much.
The way that you sculpted that nose into something that evoked a beak was absolutely tremendous.
You gave us a character that honed in perfectly on both the traditional and the fantastical.
This is a huge comeback for you this week.
Thank you.
Total redemption.
I feel like I got my groove back.
I can win.
I can take it to the end.
Ben, congratulations.
Thank you.
Now, Nora, you're also safe.
You two can head back to the makeup room.
- Nice work.
- Thanks, guys.
- Thank you very much.
- Yeah, thank you, guys.
All right, that means you two are on the bottom this week, and one of you will be going home.
If you'd please step forward.
So, Glenn, tell us about the bottom looks tonight.
Meg, despite the fact that we disagreed about the viability of your concept, the painting and anatomical design choices just did not work out.
And, Evan, man, that struggle that you face conceptually was so obvious in the finished product.
The sculpting and that weird hair coming through it-- not good.
So who is going home tonight? The person going home tonight is Meg.
We've seen some really good things from you in the past, but this week things really got away from you.
Meg, I'm so sorry, but you have been eliminated.
Evan, that means you are safe this week and can head back to the makeup room.
Thank you.
Meg, you should leave here with your head held high.
You made it really far in this competition.
In a year from now, I expect that you'll be exponentially better.
Thank you.
I've learned so much and gotten so much amazing feedback, and I'm so grateful for this experience.
- It's been a pleasure.
- Thanks, Meg.
- Good luck, darling.
- Thank you.
Meg, it's been so great having you here with us.
If you'd please head back to the makeup room and pack up your kit.
It's a bummer.
I'm going home.
- Bye, guys.
- Oh, man.
I didn't believe in myself when I came here.
Face Off has given me the opportunity to do more artistically than anything that I've ever done.
It's been the coolest ride of my life, and I will never forget a minute of it.
I'm proud of myself, and that's not something that I say lightly.
- I think it's fantastic.
- This is gorgeous.
You should be very proud of yourself.
Thank you.
I appreciate it.
Previously on Face Off Evan rode his horrific horseman to victory, but Kevon fell short and was sent home.
It's me.
And tonight the artists will take a trip under the big top.
Welcome to the circus! I'm going big on this challenge.
Is it too crazy? It's pretty crazy, but I like it.
This is a really great opportunity to go nuts with our designs.
My gut's telling me that this isn't right.
She's a frickin' mess.
Best thing you've done on the show.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Whoo! We walk into the lab, and here's McKenzie with seven models and seven weapons in front of them.
I'm excited for this one.
I like weapons, sharp things.
They're cool.
- Those are cool weapons.
- Very cool weapons.
- Good morning, guys.
- Good morning.
In ancient cultures, warriors used body paint, tattoos, piercing, and scarification to intimidate enemies on the battlefield.
So, for today's Foundation Challenge, you'll be creating your own intimidating tribal warrior makeup inspired by a unique weapon.
- Wow.
- Cool.
I think this is a pretty cool challenge.
I'm looking forward to doing a messy, nasty warrior makeup.
Now, your judge for today's challenge has done it all.
Her résumé includes huge blockbusters, like The Twilight Saga and Oz the Great and Powerful.
However, it was her incredible work on Dallas Buyers Club that won her an Academy Award.
Please give a warm welcome to the amazing Robin Mathews.
Awesome.
I'm googly-eyed when she walks in.
She's definitely well-fitted for this challenge-- very organic, and that's what I'm into.
As fellow makeup artists, I'm sure these guys would love to hear what it felt like to win an Oscar for the first time.
It wasn't that big of a deal, really.
No, totally kidding.
It was the shock of my life.
I'm living proof that if it can happen to me, it can happen to each and every one of you guys.
One of the biggest things that we've heard about Dallas Buyers Club was how you had to be so creative and resourceful with such a low budget.
Yeah, you know, it was all paint and powder.
I did a lot of highlight and contour to make the actors look heavier or lighter without prosthetics.
- Truly amazing work, really.
- Thank you.
Okay, guys, there's one more requirement to this challenge.
Ancient warriors didn't restrict their palette to just the face, so you'll be applying makeup to your model's entire upper bodies.
Oh.
This is just even a harder Foundation, 'cause now we have to accomplish so much more in so little time.
Thank you, gentlemen.
Why don't you go ahead and grab your weapons and take a seat? All right, guys, so the winner of this Foundation Challenge will earn immunity in the next Spotlight Challenge and cannot be eliminated.
You have two hours for this challenge, and your time starts now.
Whoa! - What's up, Kevin? - Evan.
Let's take a look at this thing.
Let's go look at some wardrobe.
All right, buddy boy.
My weapon is this badass club with metal embellishments on it that I'm gonna emulate in some really authentic-looking scarring.
So I mix up a little Artex, take a popsicle stick, and start laying dots and slashes in the shape of my weapon.
Let's definitely do some scars on the face, and then we'll start painting your ass.
I'm incorporating the colors and feathers for my weapon.
by using your feather as a stencil.
This is great.
It's like you're creating techniques, that's really nice.
Awesome.
I'm probably just gonna base you out in this stuff and then go in and grab the airbrush.
I immediately think of the cultures that would use mud or a clay on the body.
So I start mixing up WED clay in water and add a little bit of coloring to match the palette of the tomahawk.
Once it dries, it begins to crack because it shrinks.
Yeah, I love that cracking.
That's exactly what I was hoping it would do.
I'm influenced by the line work of the magenta on the staff, but somebody's who's going to make a rock on a stick for their weapon is not going to have a paintbrush and do beautiful line work.
They're gonna take their hands and swack it on, so I just go nuts with it.
Ten minutes, guys! You have ten minutes left! That's it, guys! Time's up! - Brushes down! - Whoo! Tell us about your tribal warrior.
So the weapon-- they had this gnarly-looking thing.
I wanted to incorporate abstract structure in the paint, and I wanted to go with the blue because of the blue beads on the end of the weapon here.
I love the choice of colors.
The only thing I didn't see was tattoos.
- Other than that, great work.
- Thank you.
I mixed WED clay in with the color pigments to give it a very organic, earthy look and pulled some of the colors out of here to tie this all together.
That's brilliant, because you've got the flaky, crusty look.
It's wonderful.
I wanted to keep it really primitive.
I didn't feel like there would be a ton of intricate designs.
It's incredible how you put the simplicity in this, but it's so detailed.
It's really tied together well.
So this is my tribal warrior.
He's also a cannibal.
I did some scarification that matches this design.
So I wanted to bring that out in the paint job.
I'm loving the coloration, and this is a nice speckled effect of dirt, very avant-garde.
- Pretty brushstrokes too.
- Thank you.
There's a lot of amazing warrior makeups out there.
This is gonna be a really hard one to judge.
Okay, Robin, so how did they do today? I'm flabbergasted.
I thought the work was beautiful.
Congratulations to you, guys.
Thank you.
So who created your favorite makeups today? Meg-- your work was so realistic looking.
The dirt, the blood, I'd put this on camera on a film right away.
Thank you.
Also Scott-- your colors look very earthy and so ingenious-- your use of clay to make it look like cracked mud.
- I absolutely love this piece.
- Thank you.
Okay, who is the winner of this challenge? The winner of this challenge is - Scott.
- Yes.
- Yeah, buddy.
- Yes.
Scott, your ingenuity was beautiful.
I know a little something about having to use products in a different way from what they're meant to be used, and you followed through, and I loved it.
- Thank you.
- Scott, congratulations.
As the winner of today's Foundation Challenge, you have earned immunity in the next Spotlight Challenge and cannot be eliminated.
I am on top of the moon.
The tighter the competition gets, you need that immunity.
This is an awesome feeling.
Great job today.
I will see you tomorrow for your next Spotlight Challenge.
- Bye.
- Thank you so much, guys.
- Nice meeting you.
- Nice to meet you.
- Thank you.
- Killed it, dude.
- Good job.
- Yeah, buddy.
Scotty! - Ooh.
- Ooh.
- Freak show.
- Yes! We walk in, and the whole lab is done up like an old-time freak-show circus.
"Elephant lady.
" - So good.
- We're all super stoked.
- Oh, my God.
- Right? Yes.
- Hey, guys.
- Hey.
Welcome to the circus, Face Off style.
Nowadays, carnivals are all about family fun, delighting millions with their games, rides, and performers, but once upon a time, they often misled the public by using fantastic act names like these to lure in paying customers.
However, they usually ended up being a major disappointment, rather than awe-inspiring.
But today you're gonna have the chance to change all of that.
Your Spotlight Challenge is to take one of these sideshow acts and create the fantastical character that really would have wowed audiences.
I'm very excited for this challenge.
This is a really great opportunity to just go nuts with our designs.
In the spirit of the circus, you'll each step right up and take a spin on the wheel to find out which freak-show act you'll be creating.
Nora, you got first spin.
Lobster Larry it is.
Oh, cool.
Nice.
You have Icicle Irma.
All right, guys, it's time to pick your models and get started on your designs.
Good luck.
Have fun.
- Thank you.
- Bye.
Okay, I got to tell you my idea.
I want you to tell me if it's crazy.
Moon Girl's hard, but I just want to hear your opinion.
So, when she was little, she got hit in the head by a meteor that made her head swell up, and then she just went through high school and just had, like, the worst acne you've ever seen.
It's pretty crazy, but I like it a lot.
Is it too crazy? - Is it, like, Kevon crazy? - No.
I just think it's a really funny idea, but my biggest concern is making it look like a swollen, crater-face acne head without it being crappy.
Hey, do you have both of those dermatology books? No, I just have one dermatology book.
You can take it for now.
Go nuts.
Cool.
Ugh.
Hey, let me know if you see elephantitis in there.
My concept is a woman that was actually born at the circus with a more rare and more literal form of elephantitis.
I'm planning on doing a face, a cowl, and an arm.
I would really like to incorporate an actual elephant trunk just to make it kind of fantastical.
I think it's gonna be pretty freaky.
My concept is that Icicle Irma is actually born with a blue, icy skin condition that makes her famous, but on the way, she becomes coldhearted and gets attacked with acid that melts half of her face into what looks like icicles.
It's definitely a risk, 'cause icicles are a tough thing to sculpt, so that's going to be my main focus today.
Inside-Out Oscar has, like, a skin disease that causes him to molt, and that's what makes the inside come out.
I want to do a skull with an exposed brain, but it's definitely something that needs intense anatomical precision, because it's easy to spot if it's bad.
Also not knowing bones, musculature, or the cardiovascular system at all, I've got work cut out for me, but I feel like I can accomplish it.
My character is the Human Peacock.
He is the presenter of the show, so probably, like, real flashy, like, in a suit, and he'll have, like, a really cool collar that's got a bunch of peacock feathers on it.
I start sculpting a human face that's elongated with a mouth and nose that look like a beak.
After having experienced the bottom in the last challenge, I realize that I don't want to be back there ever again, and I hope it's gonna help me do better this time.
I have no idea what to do with Lobster Larry over here 'cause Lobster Boy's been done every way you can think of.
I don't really have a solid concept yet, but I'm trying to just let the clay speak to me.
I'm putting lobster anatomy into it, but it's starting to look like a mask.
I just am not feeling it right now.
Fuck.
This is gonna end up looking like a mask.
It's already too big.
My gut's telling me that this isn't right, and there's no room for error at this point.
So, if I'm not sure of what I'm doing, I got to rethink this concept and start over.
I don't know where to go, but I know I need to not go in the direction that I was going.
I'm completely lost right now.
Starting over? Yeah, it looked like shit, dude.
It didn't make any sense.
At this point in the competition, you got to make sure your shit's on point, so I got to totally rethink this concept.
Just don't stress about it more.
No, I know.
I think I want to keep him more human than creature man.
So my new concept is that he's gonna be Larry the Mobster Lobster, this fantastical '40s character, but he gets seen by the law one night, and he has to hide out at the freak show.
So, as much as it sucks to start over and as nervous as it makes me, I think in the long run, it's probably a much better idea.
Oof.
I feel better now.
Hey, guys, we're here to check in on you.
- Hey, guys.
- Hi.
Okay, so tell my dad here who you got today.
I got Twisted Tom.
I'm gonna have a skin condition that drapes using the dental dam, and that'll tie in with his face that has this twisted, deformed look to it.
With the eye, you're still going up here, as opposed to gravity pulling the eye down into the direction of your twist.
Right.
So pull the lower lid as well as the upper lid.
Right.
So I got the Elephant Lady, so I'm thinking of going with the elephantitis type of thing.
I'm thinking about removing some of this part of the face.
I think you should.
Take a good chunk out here and just blend that into the face.
I have Inside-Out Oscar.
When I think of "inside out," I think of the muscle structure.
Mm-hmm.
But I would go ahead and take your sculpture, take it back here further and get that jaw in there, and then get down in there in your throat so it's more of a complete makeup.
When you get into your muscle structure, make sure you make your striations deep enough, so when you paint them, they're gonna show.
Awesome.
I have Icicle Irma.
Icicle Irma.
It looks more like boils, and the reason why that is, because you've made them round.
And the other thing I think would be great is, to really save yourself time, I would leave this side of the face.
- Okay.
- You don't need to do this, especially this blend around the nasal labial fold.
Okay.
So I got Moon Girl.
What I'm really concerned about-- this is so subtle.
Mm-hmm.
I don't think the judges are gonna read it.
Over here, you've got to get really more aggressive.
Go ahead and fill this in a little bit and take it down onto the throat.
You need to show the aggression you have going here.
- Okay, cool.
- So I've got Lobster Larry.
Okay.
I don't want to do big, static bug-eyes.
I wanted to go more subtle with it.
It's not enough, I don't think, to sell the lobster idea.
It just needs more.
Even if your sockets here are maybe even just a little teeny deeper, okay? All right, cool.
All right, guys, we're heading out.
Can't wait to see your freak show.
- Looking good! Freak me out! - Bye.
- Thanks, guys.
- Good night.
I'm very happy with the sculpt.
I feel that I've taken Mr.
Westmore's advice and accentuated that twist to the side, so I need to get this thing molded.
I don't know what to do anymore.
That really just threw me for a loop - Yeah.
- What he said, you know? Towards the end of the day, I feel really lost.
Mr.
Westmore said my sculpture needs to just be more aggressive, and I totally agree with him, but I don't know how to sculpt acne to make it look more aggressive.
I have no idea what I'm gonna do.
All right, all y'all, it's time.
I just feel super lost, and I kind of feel a little bit hopeless, and I just need to come back and see my work through fresh eyes.
- Tomorrow's a new day.
- Yep, that's right, buddy.
So I got to really think about what I'm doing tonight.
I thought about my face all night, and the first thing I do is go in and just completely start over.
Sorry to do this to you.
It's just driving me crazy, and I'm gonna make her chin come out and her forehead bulge out to give that crescent moon shape and then sculpt the acne on top of it.
I can't believe how lost I was on this one.
It's gonna come together, big guy.
I probably don't have enough time to get it to where I want it to be, but I think that it's always good to take a risk here and there, because if you don't push yourself, I don't think you'll ever advance.
The first thing that I need to get done is these icicles.
I need to figure them out.
I decide I'll just glue down strings and then have the hot glue drip down them to create icicles.
You know, it's good.
These look great.
This one looks really good.
As I'm doing it, they're actually pretty effective.
The hot glue stays that translucent color, but it still creates this drippy effect.
Once the hot glue dries, I take them off the board, and I'll be putting them into my sculpt so that I can glue them on to my foam piece once it's molded.
I finish my face mold.
My cowl sculpt is looking great.
Once I see how far ahead I am, I decide to sculpt an arm and chest appliance.
I'm going big on this challenge.
That's the pleasure of the immunity.
I can start it.
If I run out of time, it's not gonna have that big of an impact.
I still have the dental dam as my parachute, so it's a win-win.
For the first time ever, I got my mold done on time, but I realize the edges are sealed and I'm not gonna be able to get this mold apart.
This spot is fused.
Like, it's just - All the way through? - Yeah, I think so.
Now I have to hammer away at this thing and hope that it doesn't ruin all of the work I did.
I am in big trouble.
I'm not gonna be able to get this mold apart.
I'm in really big trouble.
Do you need help? No, this spot is fused.
Like, it's just-- - All the way through? - Yeah, I think so.
Thank God Scott comes over and helps me, because I'm panicking.
Let's get you out.
This is a competition, and only one of us is gonna win $100,000, but it's hard for me to see someone struggling and not help.
Almost.
Oh, whoo! You're the best, Scott.
Thank you.
I'm finally gonna have a cowl in foam latex.
Oh, you're a lifesaver, Scott.
Oh, yeah.
I'm doing an arm piece.
I want to add that into the more bulkier side of this character.
I grab one of the mannequin arms and wrap some sheet foam around that, and then I grab some foam balls, cut those in half, and place them where I want.
I then skin it with some spandex, and then I start stippling latex down on top of that.
That totally looks like cotton candy.
I'm actually really hungry now.
I can't have Lobster Larry without lobster claws, so I start sculpting these lobster claw hands and get done super-duper fast, but I know molding these is gonna be a real bitch because he got these thumbs on him that, unfortunately, I can't remove.
Worst-case scenario, I fabricate something tomorrow.
- It'll work.
- Yeah, whatever.
Fuck it.
Oh! It came out perfect.
I'm designing a really cool collar for my Human Peacock.
I take a sheet of Worbla and L200, heat-form those to the mannequin.
Once that's all put together, I spray-paint it black, and then I layer the peacock feathers down the collar, and I think it's really gonna be a really awesome accent to my makeup.
Looking cool, dude.
- Whoa! - Whoa.
That is time, guys.
At the end of day two, I'm nervous.
There's nobody in this competition who's been in the bottom as much as I have, but I'm a fighter, and I just need to keep punching forward.
Good luck, everybody.
Sweet baby Jesus, it worked.
What the fuck, man? I get into the lab, and my face piece is a nightmare.
- Is yours ripped? - Oh, yeah.
- How bad? - Check it.
The little thing here, up here.
I really wanted to focus on my paint job today, but now I have to patch this up.
Look at that, dude.
That's mangled.
I'm in the same boat as Ben.
I'm just hoping the zits and moon texture will help hide the bad edges.
Well, at least she's got a fucked-up face.
True.
Hey.
Yay! Today you're gonna have elephantitis.
Let me zip you up.
My model arrives.
I get her in costume and start applying her bald cap.
It's gonna take a lot longer than usual, and I got to make sure the bald-cap edges are perfectly blended, since they're gonna be exposed on the one side.
Perfect.
Trying to get it blended as good as we can.
So far, all of my edges are pretty darn good.
I'm happy with the cowl, the face, the arm, but I'm thinking about this chest piece.
It's a lot of time.
We got 2 1/2 hours.
I know if I can skip the chest piece, I'll have that much more time to do paint.
I like it.
Well, let's get it done, then.
But I have no middle gear, so I just go for it.
Let me put a little powder on there.
I get all the edges laid down the best I can, and I know that I need to start painting it since I'm doing a flesh tone that's gonna have so much fleckling and color.
I just want it to match her as best as possible, so I ignore a lot of the edges and just start painting it.
The seam line on my cowl is kind of thick, but as I was sculpting my face, I planned to make raised boil areas, transitioning over to the model's actual face, so I'm using Kryolan TuPlast, and it's really helping to hide all of my edges.
It's gonna be an awesome character.
Hold on.
Oh, great.
Face goes on great, but there are gaps where I didn't sculpt anything, so I just start cowl patching frantically.
This is not my best face prosthetic, so the only way I can save my makeup is with a really killer paint job.
Let's do this thing.
Basically, you're a big-- you're a mobster dude.
You're Larry the Lobster Mobster.
So application's going really smoothly.
I managed to get the skin tone matched perfectly to his, and then I start going in with the airbrush to do some cool detail work, but it's getting down to the wire, and the only thing I'm worried about is if I'm gonna have enough time to put as much detail as I'd like to into my paint job.
One hour, everybody! I'm glad you look like a bird.
Everything is finally patched and applied, and I'm basing him out in a deep mauve so that when I start putting the flesh tones over it, I have the red breakup already there.
- Spatter.
- Spattering? Yeah.
Then I go over that with greens and blues and yellows.
It's looking pretty awesome.
Ten minutes left, guys! At this point, there's not a single icicle on her.
I still got to glue and blend in 15 of them and then, on top of that, get the beauty makeup on.
It's a lot of stuff for Last Looks.
That's time, everybody! I'm really scared.
It's gonna be down to the wire.
It's Last Looks, and I have to get all of these icicles and get the paint job cohesive and get the beauty makeup on.
This is a ton of work for one hour.
Rotate a little bit more for me.
The makeup that I laid down in applications was just the base, but then to bring out that realism in that paint, I have to spend a lot of time freckling.
Keep your eyes closed.
Glenn has told us time and time again to pay attention to those details, and I feel that that is what's gonna sell this onstage.
It's eyes-closed time.
I finally started tightening up that paint job.
It's getting spattery, so there's dimension I guess.
I'm hoping that my paint job can save me.
We'll see what happens.
Oh, God, this is so gross.
Even though I have to get the lobster hands painted quickly, I can totally see Lobster Larry coming to life.
Everything's lining up and looking good.
Ten minutes, guys! Thanks, man.
That's time! Brushes down! You look fucking scary, dude.
Time's up.
My character's done, and up close, she looks horrible.
But from far away, she doesn't look half bad.
I'm hoping I'm gonna be safe, but I know that there's a chance that I'm gonna be a bottom look.
Oh, it's just so ugly.
Look at that.
Welcome to the Face Off reveal stage.
You know our amazing series judges-- owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick - Good evening.
- Hey, Glenn.
Oscar and Emmy Award-winning makeup artist Ve Neill - Hi, everybody.
- Hey, Ve.
And creature and concept designer Neville Page.
Hello.
- Hey, Neville.
- Hi.
Okay, so this week your Spotlight Challenge was to create a fantastical version of freak-show characters that would wow a paying audience.
So let's see how they turned out.
He is really scary in his full twist.
I'm very proud of the way that this came out.
This makeup is one of my favorite things that I've done so far.
I think I'd pay five bucks to go see Larry.
He is the Peacock Man, presenter of this carnival.
Up to this point, this might be my favorite makeup.
I don't know if the concept reads through, but she's still beautiful, and she definitely has a presence onstage.
With everything that I was able to accomplish in this challenge, I'm hoping that I'm either a top look or safe this point.
I'd really hate to go home on this makeup.
I think he looks really creepy and weird.
But in comparison to work I've done, this is not a good representation of what I can do with my skill set.
The judges are kind of smiling, but I want them to stay at their desk.
Please.
Okay, judges, it's time to take a closer look.
Overall, I think the whole vision is kind of great.
There's a lot of work.
I wish that Scott had taken the opportunity here to use skin disease as cover-up for an edge.
Okay.
I think it's a solid observation in terms of color right before you cook them up and they're all delicious.
They're yellows and oranges, and they go red in the pot, you know? Works for me.
I'm getting hungry.
Right.
It's pretty cool.
Dude, I'm loving this up close even way more than I did from afar.
Can you open your mouth for us? I just want to see where your-- It's a nice realistic sculpture on that lip.
I really think that what she's doing here conceptually is very interesting.
I just don't know if it reads "Icicle Irma.
" She's got all this luminescent paint on her hands.
Why didn't she use any of it on her face? I'm worried the judges are hating my makeup.
It's a weird concept.
It's a weird character, so I'm really concerned that this one could send me home.
All right, guys, it's time to get on Twitter and tell us who made your favorite freak-show act, using #FaceOff I just don't know if it reads "Icicle Irma.
" I'm worried the judges are hating my makeup.
I know it's a weird concept and a weird character, but I hope they like it enough to keep me.
She's got all this luminescent paint on her hands.
Why didn't she use any of it on her face? Yeah.
Good God, I'm gonna have nightmares about this thing.
I'm gonna have them right now.
All the surfacing feels like earth, rock, stone.
It doesn't feel like elephant hide.
I don't know if I agree with the coloring, but this is really a nice paint job.
Yeah.
It's very simian-looking from far away.
Yeah, that's my biggest note too.
And it's mostly because the muscle has been brought out.
Mm-hmm.
I don't even mind the straightforward approach of, you know, let's peel the skin off, but this is some straight up Party City shit going on right here.
Oh boy.
There's literally nothing on her body.
It's all just on her face.
Like, I don't buy the disorder, whatever it might be.
She's got the redneck trailer makeup down pretty good, though.
- Yeah.
- On the eyes.
Yeah.
Right on the cheeks.
- Nailed that.
- Yeah.
Nailed it.
Okay, guys, the judges have scored your creations.
Let's find out what they thought.
Scott Jordan Stevie congratulations, because you are all safe and can head back to the makeup room.
- Thank you.
- Thanks.
All right, that means you guys are the best and the worst this week, and the judges would like to hear from each of you before making their decisions.
Nora, please step forward.
Tell us about your concept for Lobster Larry.
When he was a wee baby lobster, the mob found him at the fish market.
Whenever they need to put the clamp on somebody, they take him out.
But he gets spotted one night by the law, and he takes refuge at the freak show.
Overall, I think it works for this challenge.
It's what it was that we were asking you to do is come up with this, like, hybrid between what the actual deformity might have been and a fantasy version of what they would really look like.
I like the idea.
I like the storytelling.
I think you had a pretty clean application.
Thank you.
I really like what you did on his shoulders, the modeling on his shoulders.
I wish I would've seen more of that throughout the paint job.
His hands are really good-- they made me very hungry.
Now I have to go home and have some lobster claws for dinner, I guess.
What was the point of the teeth? I saw the gold teeth, and I thought they were kind of cool, so I threw them in there to give him a little edge.
Kind of makes him a grilled lobster, I guess.
- Yeah, there you go.
- Oh! - Zing.
I like that.
- Yeah, baby.
You've been waiting with that all night.
You probably had that three hours ago.
Actually, I thought of that, like, a year ago.
Um There's nothing really in the face that conveys lobster, but what you have done with the forms is really good.
Thank you.
Nora, please step back.
Thanks, buddy.
Meg, please step forward.
Hey, Meg, tell us about your freak-show character.
So Inside-Out Oscar-- he has a skin disease that causes him to molt.
Since he can't, obviously, hold down a job at McDonald's if his skin is falling off, he is part of the cirque.
I think you missed a really good chance to do something really cool with this instead of just ripping his skin off.
He has a very monkey-like face.
Did you notice that when you were doing it? No.
There's just way too many things going on in this makeup.
There's no place you're really focused except for right here, and that has-- as I said, that has a very simian look to it, which throws me off, and I'm not fond of the paint job.
The biggest miss is the inside-out element because what you've conceived is just skin sloughing off.
It's like, that's not Inside-Out Boy.
That's Skin-Disorder Boy.
If you're gonna do a skull face, it had to be really good.
That's where it falls down.
You needed to do some muscle and gristle in between the bones.
There's a lot of sculptural problems, and then you have fabricated skin stuff slopped all over it, so it feels like you never found your footing, unfortunately.
- Meg, you can step back.
- Thank you.
Ben, please step forward.
Tell us how you arrived at this circus freak.
What I ended up settling on is a form of elephantitis in the face that gives him a beak-like characteristic.
I really, really like this piece.
In terms of the craft and balance, just big enough a nose, just pronounced enough in the lips.
And how you addressed his profile, in particular, are all so very well-handled.
Thank you very much.
The form-- best thing you've done on the show - Thank you.
- Hands down.
The fact that you took this into the fantasy realm but kept it human enough that it almost looks like a deformity, that, to me, is the heart of this challenge.
Thank you very much.
You enhanced his eyes just enough to give him some really fabulous kind of flair.
And I love the beautiful, blue-green iridescence in his cheeks and his forehead.
He's fabulous.
Awesome.
Thank you so much.
Ben, you can step down.
Thanks, man.
Thank you.
Nice, dude.
- Thank you.
- Good job, buddy.
Thanks.
Evan, you're next.
Evan, tell us about the concept for your Moon Girl.
She's had this skin disease, but she also, when she was a little girl, got hit in the head with a meteor.
I just thought it was funny.
I wanted to make it a little more comical, and a little more fantastical, so I don't feel like I did the best job in the world, but I like her as a character.
She's somewhat of a failure.
Yeah.
And I think that is your confusion.
You know, there's some really rough sculpting.
Yeah, I know.
I am embarrassed with the sculpture myself.
I really appreciate the fact that you can own something that didn't go straight for you, and you're standing next to it going, "Here's what we got.
So let's talk about it.
" Yeah.
Yeah, she's a frickin' mess, dude.
It's too bad that she didn't come out better, because your idea that you finally came up with is actually pretty damn funny.
There is beauty in the grotesque, and that's what this is devoid of.
There isn't much beauty to appreciate.
Evan, please step back.
Thank you.
All right, guys, if you'd please head back to the makeup room while the judges deliberate.
All right, judges, let's talk about tonight's makeups.
Why don't we start with Nora? Sculpturally, quite excellent.
It was low profile.
It didn't build up too much on the face.
I thought it was an excellent makeup.
The outfit, the backstory, the hat, the juggling, those all help to say "circus sideshow.
" I didn't even mind the wraps on his hands.
It was a really clean sculpture-- cleanly applied-- but it didn't come together for me.
All right, let's move on to Ben.
Nailed it.
He made him into such a dandy.
It was fabulous.
It was clean.
The sculpture was beautiful, all that texture in the face.
I love that he brought the face out like that and made it feel like a bird with human anatomy so it ended up like this fantasy sculpture.
It's so, so cool.
All right, let's move on to Meg.
Nothing about this said Inside-Out Oscar.
He's just a dude with his skin ripped off.
If you're gonna do that, do that well, but it's not.
It's not sculpted well.
It's not painted well.
And it looks like a primate.
Everything about it was wrong.
She did a horror makeup.
And it just didn't work for me.
All right, let's move on to Evan.
It's Evan's roughest work to date.
I think using a skin disease and trying to turn that into a moon-- it's not a bad idea, but he just couldn't find a way to physically represent that concept.
He could have just done that pock-marked skin.
Using appliances everywhere-- had 'em on her arms and everything.
He didn't need the meteorite story.
He'd worked in bad skin conditions to kind of indicate acne as crater.
That's it.
That's all you need to do.
Now execute it well and keep it subtle.
All right, judges, have you made your decisions? - Yeah.
- We have.
Fantastic.
- Let's bring them back out.
- Okay, let's.
All right, Glenn, tell us about the top looks.
Actually, there's only one top look tonight.
All right Glen, tell us about the top looks.
Actually, there's only one top look tonight.
Ben, you are the winner of this challenge.
Thank you, guys, very much.
The way that you sculpted that nose into something that evoked a beak was absolutely tremendous.
You gave us a character that honed in perfectly on both the traditional and the fantastical.
This is a huge comeback for you this week.
Thank you.
Total redemption.
I feel like I got my groove back.
I can win.
I can take it to the end.
Ben, congratulations.
Thank you.
Now, Nora, you're also safe.
You two can head back to the makeup room.
- Nice work.
- Thanks, guys.
- Thank you very much.
- Yeah, thank you, guys.
All right, that means you two are on the bottom this week, and one of you will be going home.
If you'd please step forward.
So, Glenn, tell us about the bottom looks tonight.
Meg, despite the fact that we disagreed about the viability of your concept, the painting and anatomical design choices just did not work out.
And, Evan, man, that struggle that you face conceptually was so obvious in the finished product.
The sculpting and that weird hair coming through it-- not good.
So who is going home tonight? The person going home tonight is Meg.
We've seen some really good things from you in the past, but this week things really got away from you.
Meg, I'm so sorry, but you have been eliminated.
Evan, that means you are safe this week and can head back to the makeup room.
Thank you.
Meg, you should leave here with your head held high.
You made it really far in this competition.
In a year from now, I expect that you'll be exponentially better.
Thank you.
I've learned so much and gotten so much amazing feedback, and I'm so grateful for this experience.
- It's been a pleasure.
- Thanks, Meg.
- Good luck, darling.
- Thank you.
Meg, it's been so great having you here with us.
If you'd please head back to the makeup room and pack up your kit.
It's a bummer.
I'm going home.
- Bye, guys.
- Oh, man.
I didn't believe in myself when I came here.
Face Off has given me the opportunity to do more artistically than anything that I've ever done.
It's been the coolest ride of my life, and I will never forget a minute of it.
I'm proud of myself, and that's not something that I say lightly.