Face Off (2011) s09e13 Episode Script

Previously on Face Off I know that you're a very talented bunch, so that's why we're not going to go easy on you this season.
You want to go for a ride? Yay! Welcome to the circus.
The three of you still standing at the end of this challenge will be moving on to the finale.
The first person going to the finale is Ben.
Nora.
Evan.
Oh, my God.
- And tonight - What the hell is going on? You will work with a director and full production crew.
- That is so cool.
- Oh, God.
My mind is blown.
Please welcome Patrick Tatopoulos.
- What? - Oh, my God.
I want to make this last challenge my bitch.
We should just take all this off.
It's looking terrible.
This sucks.
I only have an hour to paint two complete characters.
Oh, wow.
Action.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their 85 international locations, a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Whoo! - Hi, babe.
- Hey, buddy.
I walk downstairs, and there's a big monitor there, and it's my dad and my girlfriend, and I'm really glad to see 'em.
It's so good to see you.
Sorry.
I just need a second.
It's hard not to see your family for so long.
And to see them? It's awesome.
You working your butt off? Oh, my God.
You have no idea.
I can't believe that I made it this far.
They're the reason I'm here.
I mean, my dad-- he's always encouraged me, and winning the competition would mean everything to me.
It would mean everything to them.
Oh, Quincy! Ugh! Quincy, look.
It's your dad.
Here I am looking at my guy.
There's a monitor, and my friend Nicole and my dog Quincy are on it.
He's my best bud.
He gets me.
Congratulations.
Thank you.
Quincy? God, I'm such a dork.
Man, I love that guy, and seeing Quincy is definitely a positive boost for me.
Oh, I miss you so much.
You're gonna make me cry.
I'm trying to hold it together over here.
I know.
I'm sorry.
So I see my girlfriend, Miriam, and she looks beautiful, and I'm so happy to see her.
I can't believe I'm still here and that I'm top three.
I'm so proud of you, honey.
There's so many things that are in front of you right now.
No matter what happens, I love you so much.
And I am with you every step of the way, and you mean the world to me.
Oh, I love you too, baby.
I just want to make her and my parents really, really proud.
- I'm gonna see you soon, okay? - Okay.
All right.
Mwah! I love you.
Oh, Quincy, I love you.
Good luck, babe.
I love you.
- I love you.
Bye.
- Bye.
After seeing my dad and my girlfriend, I'm pumped.
- One more.
- One more time.
And now I feel like there's nothing that I can't do.
We walk into the lab, and it's a little mysterious right now, 'cause it's just McKenzie and the crew.
You know, usually there's some kind of indication when you walk into the lab as to what's happening, and there's nothing.
So I'm like, "What the hell is going on?" And roll cameras, please.
- Hey, guys.
- Hey.
You ready to find out about the finale? - Hell yes.
- Yes.
All right, let's get right to this.
As you guys know, there is much more to television and filmmaking than what you see on screen.
For every minute of footage that makes the cut, there are hundreds of people working together around the clock to create that final product.
For this finale, you will become a part of that process as you work side-by-side with a director and full production crew to create three stunning short films on location.
- What? - Oh, my God.
- That's so sick.
- Yes! - Oh, God.
- That is so cool.
My mind is blown.
We are gonna work on a real film.
It's a huge deal.
I'm super excited about it.
I can't wait.
Now, about that director I mentioned.
He's a multi-talented creature designer, production designer, and of course director with credits across the spectrum, including Stargate, Independence Day, the Underworld films, 300 Rise of an Empire, and most recently, Batman vs.
Superman Dawn of Justice.
- What? - Mm-hmm.
Please welcome a member of the Face Off family, Patrick Tatopoulos.
- Yes.
- Oh, my God.
- Oh, Man.
- Whoo! I've always wanted to meet Patrick Tatopoulos.
He seems like such an awesome guy to work with, and to have him giving you feedback and directing these things is amazing.
Thank you so much for joining us.
Pleasure.
Patrick has worked with the show's producers to come up with three scripts for your short films.
Each one features two characters that you'll create to star in the film.
Wow.
They are The Prey, Resurrection, and Quarantine Zone.
As the director, Patrick has already cast the characters and made storyboards which he'll talk you through as you get underway with your designs.
- Oh, my God.
- I'm super excited about this.
Now, in the real world, makeup artists get the luxury of testing their makeups on camera before the actual shoot to get a sense of what they're going to look like under similar lighting conditions.
This time, so will you.
- Awesome.
- Yes.
You'll get to hear Patrick's feedback and adjust your makeups and designs before the final film shoot.
- Awesome.
- I'm gonna cry.
- This is amazing.
- All right.
Shall we choose some scripts? - Yeah.
- Let's do it.
- Evan? - Oh, man.
Hey, buddy.
Quarantine Zone.
The Prey.
You know, Resurrection.
I'll take it.
Good choice.
I know you can't do this alone, so we brought you some help.
Guys, come on out.
Yes.
Oh, I'm gonna start crying.
Whoo! All right, so you each get to choose two former contestants to help you out.
Ben, you get first pick.
I'm gonna go with my lucky charm, Jordan.
- Friends till the end.
Kevon.
- Aww.
I'm gonna take Jasmine.
- Girl power.
- Come here, baby.
Scott, come on over here.
Stevie.
Get over here, Meg.
Girl, whoo! Okay, guys.
Go ahead.
Start designing those characters.
I will be with you in a few minutes, and we'll go over everything together.
- Good luck, guys.
- Thank you.
I will see you in a few days.
- Bye.
- Thank you guys so much.
- Bye.
- Thanks.
Here we go.
Dense forests.
Our script's a fantasy scenario, and it's a forest where creatures thrive.
The female "Prey" protagonist is a meek, pale, cave-dwelling creature who's being hunted by this terrifying tree demon.
Her clothes are tattered, and she is covered in scratches from cuts from the thick forest.
I definitely want to keep her closer to human form so that she's more vulnerable to this big creature-y hunter.
The hunter slowly and deliberately walks down the trail.
He sniffs the air and observes the disturbances of the ground and branches.
I want this guy to look really organic and look like he blends in with his surroundings to make him, like, the optimal hunter.
Wouldn't it be cool if he had, like, horns that were, like, - gnarled tree roots? - Yeah.
We all have a million ideas, and it's a really cool script, and I just cannot wait to get started.
- Hello.
- Hello.
Hi.
Awesome.
- Absolutely.
- Yeah.
I'm thinking very subtle facial prosthetics for her.
Definitely I'm thinking about doing a chest piece on him - to accentuate his bulk.
- I love that.
Silhouette? - Super strong silhouette.
- Got ya.
Our wanderer steps into the scene.
She is a survivor.
She raises binoculars to her eyes and scans the horizon.
When she drops them, it's obvious the virus has begun to take hold of her.
Our characters are two infected people with some kind of virus-- a female wanderer who has the virus, but she's suppressing it, and a male character who's held captive, but he's in a way more advanced stage of this.
On the side of the building are massive claw marks.
She cautiously walks around the building.
They recognize each other.
The wanderer plucks a vial of medicine from around his neck - and drinks it.
- Okay.
This is very hard to conceptualize, because it's an infection.
Claws.
We definitely want to have that in there.
Does certain veining start to happen first? Yeah.
So I start thinking maybe this virus turns people into a grotesque, veiny beast creature.
The camera goes up.
She looks through the binoculars and I can't see a face.
For her, at the beginning, it's important that I don't discover too much - of the secrets.
- Okay.
Awesome.
I was thinking instead of being a blood vein underneath, I want it to be something more rigid that's coming out of the skin.
Yes, kind of coming out of the skin.
- I love that.
- And kind of grabbing on.
- Absolutely.
- Okay, awesome.
This gonna be so fun.
I really needed to hear what Patrick had to say about my characters.
That was amazing, but now I have to figure out how to get everything done.
- Good luck.
- Thanks.
See you.
The camera settles on a high priest of an alien species, so he's an alien.
In "Resurrection," an alien beast resurrects an ancient creature, and the creature is a similar species as the priest, but from thousands of years ago.
The creature sits up from the altar and lunges after the priest who throws himself into a pit below.
Okay, what if we did a bishop with a classic elongated alien shape? - Like heading back? - Yeah.
That's pretty cool.
Creating aliens is awesome, but getting the chance to collaborate on them with Patrick Tatopoulos? It's like the coolest job in the world.
Uh-huh.
Yeah.
I was thinking about the priest character - being a little sleeker.
- Mm-hmm.
If he's, like, almost paler, like when the lightning strikes, he's almost glowing over everything.
- I think that's a really-- - Yeah.
That's a fantastic idea.
I like the idea of runes being on the creature and actually being incorporated into his anatomy as well as his wardrobe, - as a ceremonial piece.
- I like that.
I think this is really a cool concept.
- Oh, thank you.
- Very cool.
All right, man.
- Thank you.
Good luck.
Cheers.
- Thanks so much.
Appreciate it.
Cheers, man.
It's time to get right to work and start sculpting.
Jasmine starts working on the chest piece for our hunter, and I'm gonna just bang out this facial prosthetic for the prey character.
The cowl should come down on the shoulder, and then we're gonna have the face with a neck piece.
So our hunter character is definitely gonna have the bulk of our work on him.
He's gonna have a face, a cowl, a back piece, a chest piece, shoulder pieces.
And with her, it's more subtle nuances that I'll be adding on.
- The cool shape.
- I added the V, and then I added a protrusion here.
Uh-huh, yeah.
I see that.
It's important for me to do just as much, if not more than they're doing 'cause at the end of the day, I'm the one competing in this finale.
This side's much more out.
Carve this back down to match this side.
Sure.
Right on.
- That's the shape that I have.
- Cool.
There's pressure to make Patrick happy.
Build out a little bit more right there.
So my plan is to create the very best version of our characters, because after the camera test, we don't want to have to waste time having to recreate things.
Scott's sculpting the creature, and I'm gonna work on the priest, and we're working side-by-side to make sure that we're still keeping a consistent design, but still having completely separate characters.
And then Jordan is working on the scarab element-- which is the life force of their species-- for the chest of the creature as well as the priest.
Time is ticking away, and I'm working on sculpting the face piece for the captive, but I'm not really liking the design anymore.
And then I look over, and I see Kevin and Stevie's sculptures, and I realize that none of our work is looking cohesive.
We should just take all this off.
Just take all that off.
I'm gonna start Stevie too.
I'm really worried, but it's hard to give people guidance to complete your vision when you aren't 100% sure what you're doing.
Want to scrape it all off? If it comes off easy.
Okay.
Good-bye.
I need to figure out how to make 'em look like they belong in the same world, but also figure out how the virus is evolving.
- Do you think it's too subtle? - I don't know.
There's a lot on the line, and I really got to step up and be a leader.
See the-- I'm-- I'm lost.
I'm doubting myself on this design.
I don't think the sculpture is reading the way it should.
Don't be lost.
Don't be lost.
I decide we need to completely start over, so I can rework some of the veining and put my patterning in there.
I need to step up my game, take the lead on this, so my makeups will look cohesive.
I like that, yeah.
Dig this deeper.
I think what it's missing is, like-- is we have, like, a sharp ridge kind of just going here and this, like, not leading into any, like, flat areas.
The creature is kind of like a Neanderthal version of the priest, so he'll have a similar design in the face.
Since he is mummified, it'll be a little withered.
He'll have a bigger brow, which will be prominently featured, because the priest is cleaner and slicker.
He won't be cluttered with detail.
Nice.
Awesome.
Our cowl for the hunter character is getting really, really big.
Oh, beautiful, dude.
And foam latex can get pretty heavy, especially if he's wearing it all day, so I cut the tops of the horns off.
Excellent.
And cast those up in silicone and then I'll run 'em in something lightweight that I can just rotocast.
I think it's gonna be a really awesome way to make the model as comfortable as possible.
While I'm doing the horns, Jasmine's molding the shoulder caps for our hunter character.
This is more than I've handled ever for one project, so it's a little daunting, but I have full confidence that we'll get everything done.
But we got a lot to do.
Chest piece.
Her face piece.
Tonight we'll think if we want to do anything else to her.
- Yeah.
- If we put it on, and we're like, "Oh, God, that looks bad," that might be our second chance to do a more elaborate makeup on her.
- Yeah.
- I wasted a lot of time today, but I feel like I'm finally going in the right direction.
We were able to finish sculpting a new face for the wanderer, but I still have a lot of work to do on the captive.
We'll step her up a notch and bring him - Down? - crazy.
No, crazier.
Even crazier.
All right, everybody! That's time! We have a lot of work to do tomorrow, so I really need to punch up my seriousness.
Day two has arrived.
We haven't got any of our pieces molded because we still have sculpting to do, so I need to get my team on track.
Here, Scott, this is what I was talking about.
The weird nose thing.
It's almost like it opened up over the years.
Yeah.
You may want to bring this down just a little bit just so that you have more room to mold.
I'm excited, but I'm feeling so exhausted, so I just have to muster up whatever it is that's in me to just get through the rest of the day and make sure we have all the pieces that we need for application day.
Start blocking out these forms.
This is the finale, and you want everything to be perfect.
I realize that the cowl has nothing on it, so I have Kevin working on that while I finish detailing the captive face.
I'm not sure if there's enough time to get the cowl sculpted and everything molded, but with three of us, it's definitely possible.
It's gonna be awesome.
Yep.
I'm getting there.
That looks cool, dude.
Time management is definitely key today.
I need to finish the face sculpt for the prey character, and I need to start the face sculpt for the hunter character, but first I'm gonna block out the back piece for the hunter, so that the girls can start working on the detail work while I get everything else on-point.
I think doing something where it's like these pieces are overlapping those two pieces.
I quickly rough out the back piece, and I tell Meg exactly what I want.
It's kind of like the spines like-- they're kind of growing as, like, plates almost.
We've got a clear idea of what we need to do.
We have a lot to sculpt, and we have even more to mold, so we're gonna be busy.
Do you want me to start prepping this for molding now? Cool.
Jordan finishes sculpting the chest for the creature, so he's gonna get that molded.
And then I flash and shim my pieces for the priest and hand them off to them for molding while I sculpt the chest piece.
Time is pretty scarce because we have probably six molds that we have to make today, so I got to work fast.
You don't have to make any molds? - Me? - Yeah.
Jordan's doing a bunch of other stuff, and Scott's making two molds right now.
He's already made three molds for me.
I go in and add some finishing touches to the face and the cowl for the captive, and Kevin sculpts these hand pieces and this arm, and I am loving the way the hands are looking.
I'm loving the way the elbow is looking.
I'm excited to add this piece.
Let's get this molded.
But now we have a lot of stuff to mold, and I have lost a lot of time, so I am really worried.
I just need to finish these fucking face pieces.
I love the cowl, I love the chest, I love the back, but I don't know how I feel about my sculpt for the hunter.
I'm not feeling this sculpture, really.
It's just, like, impossible not to doubt yourself, especially going to the finale, because the stakes are way higher now.
The clock is ticking away, so this is a really scary situation to be in.
I know that this is it.
If I don't fix this face sculpt, I don't have a chance in hell of winning, and that scares me.
Do you mind if I just touch up these things a little bit? - Is that cool? - No, I'm doing-- like, here.
Yeah.
You know what? I need to step away from it.
You go for it.
I'm not feeling this sculpture really - but it just is what it is.
- I love it, dude.
I'm not super sold on my face piece yet.
Do you mind if I just touch up these things a little bit? - Is that cool? - No, I'm doing-- like, here.
Yeah.
You know what? I need to step away from it.
You go for it.
Finally, I just walk away, and I take a deep breath.
I realize that I don't have time to rework it.
I just have to calm down and not doubt myself.
I can't just sit here all day with this face sculpt.
We've got six molds to make, so I don't have time for second guessing myself.
All right, it has to be done, and I'm done with it.
It looks so dope, dude.
- You know, the problem is-- - So dope.
Finishing up the chest piece for the priest takes forever, but I finally finish my sculpture, and I take it to the mold room.
It's a big mold, but I feel confident that I can get this mold done quickly.
Having Jordan and Scott focus on the fabrication and molds turned out to be really helpful.
I feel like I'm in a pretty good spot.
You guys are crushing it right now.
Crushing it.
Let's lay it on its side.
Time is running out, so we have to open up our captive cowl mold when it's pretty hot and still fragile.
Oh! - That was bad.
- Gentle, gentle.
This just broke.
I crack it, and that's a big problem because this cowl piece is gonna be super important.
Well, it's cracked right there.
- That's deep.
Real deep.
- Deep, deep, deep.
There's no time to fix it.
We just hope for the best.
That was my fault.
That's time, everybody! Autobots, roll.
I can't believe that we got everything done that we set out to get done, and I feel great going into application day for our camera test.
And I just need to stay positive and put out an amazing makeup.
- Good luck, guys.
- Whoo! - Big, fat seam.
- Holy moly.
There's a huge seam on the cowl, and the edges are a little thick on my face appliance.
- You have a big, fat seam too.
- Yeah.
Meh.
We'll deal with it.
It's bad timing, but issues come up all the time, and it's part of my job to roll with the punches.
- Whoo! - Hey! How are you? - Hello, Jordan.
- Yeah.
Good to see you.
Yeah.
That looks awesome.
You're kind of, like, tree demon dude.
- Tree demon dude? - Yeah.
Meg and Jasmine start applying the tree creature appliances.
Wow.
This fits you like a freaking glove, right? - It feels already like-- - Like what the heck? We have so many to get on him, so two people really need to be on top of that character, and I'm gonna handle the application and paint on the prey character, but I'm gonna be bouncing back and forth.
I need to make sure that I'm on top of everything that's happening, because I want to make this last challenge my bitch.
I want to win Face Off.
It's, like, the coolest challenge.
We can throw the cowl on real quick.
Even though the captive cowl mold had cracks, the prosthetic actually came out really nice, so I'm really happy about that, and I'm going to focus on putting on the silicone piece for the wanderer and have Stevie and Kevin start applying the captive.
Let's get the chest piece glued down - and glue this over it.
- Okay.
I think I'm using everybody's ability to the fullest, and everything's going well.
Having to waste over an hour just repairing the cowl, it's really setting things back, and it's taking a lot of time away from my paint job.
It's frustrating.
Okay.
It is a screen test, but my goal is to get it as perfect as possible so I'll have a clearer idea of what we need to do for the actual shoot day.
That's good.
Perfect.
Jasmine, if you want to start basing Nayeli out.
So after I get the prey's face prosthetic all set I ask Jasmine to start applying the base coat.
It's essentially a full body paint makeup, so the faster we get her based out the quicker I can go in with the airbrush and start doing the real paint job.
Until that's done, I jump over and handle the application of the hunter's face.
Feel like it's on your nose? Yeah.
Maybe up a little.
Even though this is a camera test, everything I can do at this point to ensure that I'm set up for success in the final application, I want to do that.
I really want to impress Patrick.
All right, I'm gonna start basing down the back and see what it looks like.
For the captive, Patrick said that it's gonna be a high contrast filter when he films it, so I decide to shadow it to bring out some of these other veins, but I'm not liking the way it's looking.
It's too busy, and it's reminiscent of Freddy Krueger a little bit, but nothing I can do now.
I'll just have to wait and see what Patrick says.
Just, like, too purple.
This is too, too purple.
Take a look at you.
- Creature, rise.
- Yeah.
After falling behind with her seams I realize that we're not gonna have any time to paint either one of these characters before we go to Last Looks.
We just tack it down from back here.
It's very frustrating to get set back like that.
- 15 minutes, guys! - Thank you.
That's time! Let me see that mouth of yours.
Yeah.
Cool, man.
I've never had to do a full paint job in one hour, and it's terrifying going into Last Looks knowing that that's what we have to do for two characters.
We certainly have our work cut out for us.
This is gonna make or break our makeups right now.
We've got so much paint to get down on our hunter character.
One of you do wardrobe.
The other one starts painting that wood.
For the prey character, I need to get all her scars put down on her arms and hands.
Also some more tribal scars on her chest, and I've only got an hour to do it.
While I'm working on the prey, I look over and I see the hunter's looking really red.
We got to knock that way back.
Time's ticking and we really got to make this guy look like a tree, so this is a really scary situation to be in.
If we can dry brush a little white onto his upper horns, that would be great.
My prey character needs to have scraped knees and elbows, and little cuts everywhere.
She's muddy, she's been running through the woods, so I grab some plains dust and start slapping it on her.
All right, ready? I then apply a translucent jelly by Kryolan.
It's glycerin-based, so it'll bead up and actually look like artificial sweat.
This is really nice.
Jasmine and I are trying to make sure that everything looks really finessed and ready to go because we want to make this a makeup that Nora is super proud of.
It's really coming together, dude.
It's looking great.
We're covering up any gnarly edges we have with moss.
Meg's putting sap in his ear holes.
Adding these details is gonna put us ahead.
It's gonna put us in a good spot.
Ten minutes.
Flip the head back over.
Time's up.
You guys are needed on set.
These two characters are looking worlds better than they did when we left the lab.
I'm so proud of Megan and Jasmine, and I really can't wait to hear Patrick's feedback.
- Mmm! - Good job.
So it's go time, and I'm ready for it.
I'm overjoyed.
I'm excited.
I'm pumped.
So we walk in for the camera test, and I'm just in awe.
I've been on one set before, but this is like, "Whoa!" There's cameras set up.
There's, like, a million people.
There is this cool backdrop that's a simulation of the environment that we're gonna be shooting in.
Hello.
I see Patrick, Mr.
Westmore, and McKenzie.
- Nice to see you.
- Good to see you.
And I'm a bundle of nerves right now, but at the same time I'm just really eager to get this guy on film.
We have a special setup.
I brought some greens, I brought some contrast, and since he's the one that's supposed to feed the world, I think we're gonna start with him.
- Cool.
Badass.
Let's do it.
- Cool.
I know it's a dry run, but I still really want to make a good impression on Patrick.
If he's not happy with this right now, that might bleed over into the finale, so I don't want that to happen.
So can I have you move a little bit? Okay.
Action.
Look left and right.
Good.
Sit here for a bit.
Do you see what the contrast does? - It's cool.
- It's awesome.
No, it looks beautiful.
Yeah, it looks totally different on camera, yeah.
It's a totally different thing looking at him in Last Looks under that lighting and looking at him in the high contrast.
Everything's just awesome.
He just looks great.
The mosses? Kind of bump up more? Yeah, 'cause I think this is really interesting.
It's gonna play well with the background.
Oh, yeah, no, we'll definitely put some more moss on him.
For sure.
In kind of like two plates? One for each side? Okay.
You like the way it looks.
So is this kind of what you were envisioning? It's perfect.
It's looking good.
Thank you.
Patrick is enjoying the look of the hunter character, and thank goodness it's the camera test, because if we are gonna make mistakes, this is the time to do it.
But I went very minimal on my prey character, so I'm really anxious to get Nayeli out there to see how that makeup's looking as well.
Action! Look around.
Yes.
Good.
Hectic move like this.
Good.
Do you like her color? - Is she-- does she look good? - I think she looks great.
I mean, as much as I want to add green on him and do a couple things, and the leaves, I think she looks great.
- I'm very happy with her.
- Cool.
Seek refuge.
Go in the trees.
Hiding in the trees.
Yeah.
Patrick is totally feeling the look of the prey character, and that's the best feeling in the world.
She's looking pretty cool.
She looks slimy and sweaty, but I got to make some changes like tweak the paint job and make it a little bit more aggressive so that it reads on the camera.
- Cut.
- Cut! Good stuff.
Great.
You ought to shade this a little more in here, - to bring the head out too.
- Absolutely.
Do you like the subtlety with this piece? I never in a million years thought this would go as smoothly as it went.
I'm so thankful, and it really gives my team a huge boost of confidence.
I'll make sure everything is on-point, I promise-- - Don't change too much.
I'm liking it.
We just have minor tweaks, but we don't have to rework any of our characters.
We are doing really good right now.
I've never had to do a full paint job in one hour, and it's terrifying knowing that that's what we have to do for two characters.
Scott, did you see the sponge that I set over there for you? Yes.
Thank you.
So right away I start getting some color onto the priest.
Starting with the arms.
I'll start on the chest with this.
Scott and Jordan start basing out our creature in the blue-gray color.
On the priest, greens are gonna help the contrast pop better on camera because we are having a lot of amber lights on him.
Having to do the entire paint job in Last Looks is not the optimum place to be, but we just have to get into it.
Do not have time for problems.
Let's get solutions.
We're getting Kryolan Aquacolor Plus on the dark areas of the limbs, and the rest is going to be PAX paint.
That's gonna give us our grays for the foam prosthetic parts.
Very busy time right now.
I know I'm moving really slow on this priest, but because this character is pale, I'm gonna try and use that to my advantage and not go too crazy with my paint.
- May have to use those sandals.
- All right.
This is definitely one of the fastest paint jobs that I've had to do.
We want Ben to look good, so we're really putting our all into this.
Don't got much time.
We got to get - in full wardrobe, two guys.
- Yeah.
I'm just trying to get as much detail in it as possible, and I realize that the priest's hands have nothing on them.
Put your hands in that.
I look at the sand-colored Aquacolor, and it's like, "Hey, rub your hands in this.
" It's not great, but it's something.
All right, guys.
That's it.
Time's up.
You're needed on set.
- See you out there.
- Oh, my God.
I love you guys so much.
Jordan and Scott, they're my heroes.
I'm just really, really thankful for them.
- What we did in one hour, dude, - I can't believe it.
Getting all this work done in time is awesome, but it does make me nervous because now I'm worried that these make-ups aren't finale-worthy and I'm afraid Patrick is gonna feel the same way.
I'm a little scared.
Oh, wow.
- Hello.
- Hey.
There was a lot of nervous energy walking into the sound stage, but with my previous experience being on set already, I feel kind of at home.
Now I just need to calm down and stay focused.
I will show you what I'm gonna do.
Sure.
So we're going to play with a little of that golden light.
And I think it's gonna look amazing with your stuff, so I think we're gonna start by setting up the priest.
- Okay.
- Okay.
Here we go.
I'm really stoked to be sitting next to Patrick at the monitor and looking at our stuff on the screen, and seeing how the light hits it.
It looks awesome.
I'm hoping Patrick feels the same way.
And action! So start looking down first.
Start moving your mouth like you're incanting something, and get super scared.
Nice.
This is what we're here for, you know, to do this stuff forever.
- I know.
- And cut.
Good.
This is great.
I like the level of reflection.
It's not too shiny.
Not too dry.
I think he feels pretty alive.
I feel pretty happy about it.
Just make sure you have something for the mouth.
Oh, like teeth? Oh, yeah.
Patrick is really excited about our priest which is a huge relief.
I just hope he feels the same way about our creature.
So we're gonna bring the creature in.
Step in, please.
I can't wait till we get to watch it on television.
Rolling.
Action.
Give me a profile, both of you.
Just don't worry.
We're not so much acting on this one.
Show me your back, both.
Turn around.
Oh, what's going on? The lower back is half painted, and it's embarrassing putting that in front of Patrick.
The back-- you're gonna need to take care of that, obviously, because I will see it when he rises on the thing.
- Mm-hmm.
- Okay.
But part of this process is just finding out all the steps that we need to take to make sure everything's wrapped up and clean.
So why don't you do this, and then you're like-- yeah.
You can even use your arm as a momentum thing, yeah.
- Yeah, okay.
- And then you look at him.
Yeah.
I mean, not, like, crazy fast, but you-- that's a good thing.
That's a good rhythm.
Okay? Cool, man.
And action! Eyes! I'll tell you something that bothers me a little bit, 'cause I think the eyes are too dark.
Okay.
- Don't you think, Michael? - Yeah.
In this lighting, it would give you a raccoon look.
We're gonna be on his face tight, so anything you can do to help.
Okay.
And cut.
I think we're good.
There's a lot of work to do, but I feel really good because we don't have to remake anything.
We can just spend the next two days refining what we have and making sure that we get 'em on the level that we need 'em to be for the film.
We need to do some touch-ups, and finish a lot of paint work on our captive, and then also paint the wanderer.
One hour just doesn't seem like enough time to get all this done.
And you just leave 'em up like that.
Yeah.
That looks good.
But it's important to impress Patrick.
This is gonna give him insight into the kind of artist I am.
Look up for me.
Start real red - and then kind of blend it down.
- Yeah.
Stevie and I feel this intense pressure to deliver on this paint job.
We both want to make this the best it can be for Evan.
I feel like the wanderer's looking a little too healthy, and I want to bring her skin tone down, but I'm not gonna go crazy because I want it to still look like silicone, and I don't want to get it muddy or over-paint it.
You don't mind if I use the grease around the thorns, do you? I kind of do.
No grease paint on his eyes, either.
Overall I really like the way the captive's cowl is sculpted, but the face is a little busy for me.
There's too much going on.
Too much for the eye to be distracted by.
There's no focal point really, but I think we did a pretty good job at least getting it finished.
All right, guys! That's it! - We need you on set.
- Good luck, guys.
Thank you so much.
I'm kind of disappointed.
I think the paint isn't all there.
It doesn't look terrible-terrible, but I think it could be a lot better.
I'm still feeling like this is not my best sculpting in concept.
It seems like they're not cohesive, and I think that's gonna be one of the issues that Patrick's gonna have, so I'm feeling very iffy at this point.
This is literally my first time on a movie set, and I don't know what to expect.
It's overwhelming.
- How's it going? - Good.
Good to see you.
So let me show you where we are.
I would like to introduce the character in there and get a sense of what we're catching - and what we're not catching.
- Okay, all right.
I'm feeling really nervous because there's a lot I can improve on, but I'm also excited to finally hear Patrick's opinion on our makeups.
This is so cool.
Okay.
Here we go.
Roll camera, please.
And action.
This is good.
Yeah, yeah, yeah.
Exactly, yeah, and if she was in the desert, I don't think she'd be wearing camouflage.
Yeah.
I'm liking what it does on the veins and the eyes, - but she still feels too healthy.
- Yeah, she does.
This sucks.
She's looking very military.
Her wardrobe is way too dark, and her face isn't light enough.
Yes.
And cut! Patrick isn't happy with the wanderer character, and I'm not satisfied with it either.
I hope to God Patrick's more impressed with the captive makeup.
You're a victim.
You're someone that's freaking out, and you're, like, almost pleading, "Don't leave me here.
" - Okay.
- So if it's difficult for you, just keep them right behind your head like this.
And that's cool, yeah.
All right, cool.
And action.
Raise your head.
Look above camera, and, like, fear.
You're scared now.
Try to bring your body to the left.
Yes.
To me, a big thing is it's super contrasty everywhere.
- Okay, okay.
- On the sculpt he's also, like, you know Yes.
Yes, okay.
Okay.
I'm disappointed that Patrick doesn't like this makeup.
I'm not a big fan of the big round thing with one deep color in there.
I like when the color carries on all the way to the eyes.
- Michael, you agree? Okay.
- I agree.
Just not working out.
You know, a little bit of hair here and there, - 'cause he's still human.
- Yeah, we're gonna put hair.
- Just patchy.
- Yeah.
- We're going to put-- yes.
- That's a good-- - It is a bad place to be right now.
And cut.
Well, I'll tell you about this one.
It's my first feeling.
He is too high contrast on the paint job.
Okay.
Patrick doesn't like the makeups, but since it is just a camera test, now I have a chance to make it look even better, so I'm really happy about that.
I'm just thinking of maybe bringing - a little more human into him.
- Mm-hmm.
It's almost like one step too far.
This is the finale, and there's no room for mistakes.
Too contrasty.
And listen - If you have time to do this-- - I do.
I think I do.
Okay, great.
- Cool.
Thank you very much.
- Thank you, Evan.
- See you.
- Appreciate it.
The characters are so different that if I didn't have a second chance I'd be really worried, but I'm glad I get to change it.
Well, guys, I know you have a few things to work on before we shoot your films, but you all did a great job today.
Thank you.
Now that you have some feedback and you've seen what they look like on camera you'll have a couple more days to either recreate or revise your makeups before production gets underway.
I agree with McKenzie.
You guys did a great job today, and I believe with those changes we talked about you're just going to kill this.
Well, you've overcome the first hurdle, but this finale is all about experiencing the real-life rigors of creating compelling characters for film and television.
So just like Hollywood makeup artists, you need to stay on your toes, because sometimes things change at the last minute, including the script.
We managed to barely scrape by getting these two characters.
It's like, "What next?" In each one of the script there is a character-- new characters that we're adding to, and I really feel we need to see that character to help tell the story.
Oh, boy.
They've really upped the ante.
This is like an extreme, extreme challenge.
That's right, guys.
Your freshly updated scripts now include a third character that you'll be making for your short films.
This sucks.
I'm just so tired and just beat down.
Now I have to make a whole new character.
I don't even know how that's physically possible.