Face Off (2011) s10e02 Episode Script

That is an incredible profile.
Okay, what does that mean? That's cool, that's something I don't see all the time.
Thank you very much.
Previously on Face Off Melissa's alien bounty hunter brought her to victory, but Greg fell short and was sent home.
And tonight, the artists embark on a whimsical adventure.
- That's awesome.
- I cannot believe it.
Go! You're over-thinking what the judges are going to say.
I'm so frustrated.
I don't know what we did wrong there.
We are in big trouble.
What the fuck? And a legend joins this week's panel onstage.
It's Paul Rubens.
I'm sorry I'm saying "nipple" so many times.
This is really successful makeup.
It's creepy and weird.
I like everything about this.
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 2016 Fiat 500, and $100,000.
This is Face Off! Culver Studios.
Wow, that's so cool.
We arrive at Culver Studios.
I've never been on a studio lot before, and I'm so excited.
This does really feel like-- like a studio.
We walk into a soundstage That's awesome.
And I cannot believe it.
It's like Toys.
I see these giant toys, and there's McKenzie and Ve standing at the end.
And I want to impress Ve, so I'm feeling extremely nervous.
- Hey, guys.
- Hi, everybody.
- Hi.
- We're here today at the beautiful and historic Culver Studios lot, where countless projects have filmed for nearly a century, including Gone With The Wind, Citizen Kane, and E.
T.
All right, are you guys ready to find out about your next Spotlight Challenge? Yes! Good, cause this is a fun one.
Now, whether you wish upon a star or wave your magic wand, Hollywood has a long history of breathing life into inanimate objects.
Films and television shows like Pinocchio, Toy Story, and Pee-Wee's Playhouse showed audiences the magic in everyday objects.
And today, it'll be up to you to provide that magic.
That's awesome.
For this week's Spotlight Challenge, you will be working in teams to create a wacky, larger-than-life character inspired by one of these inanimate objects.
- All right.
- I'm really excited.
I don't normally do whimsical makeups.
It's something I've always wanted to do, so I can't wait to get started.
Now, your teams have been randomly assigned, so when Ve calls out your name, go ahead and stand with your new teammate.
Team number one is Walter and Ant.
Njoroge and Jennifer.
Anna and Mel.
Yes.
- Robert and Yvonne.
- All right.
Rob and Johnny.
Katie and Kaleb.
Hey.
Melissa, don't think we forgot about you.
As the winner of last week's Spotlight Challenge, you get to choose which team you want to be on.
Um, I think I'll be with Rob and Johnny.
All right, go ahead and join your new team.
Okay.
Being on a team of three is supposed to be a reward for winning the last challenge.
But it's very intimidating, 'cause we know we're gonna have to really step it up, 'cause we have three people working on everything.
Now, Ve, you worked on a very whimsical show once upon a time-- Pee-Wee's Playhouse.
- Yeah.
- You even won an Emmy for it.
All right, so what can you tell these guys to help them capture the colorful, wacky spirit of this challenge? I really want you guys to think out of the box.
Just go crazy.
Bring out your inner child.
Make it colorful, psychedelic.
And please, do not go to the dark place.
All right, guys, when Ve says "Go," you can all come over and choose the object you want to use for inspiration.
And when you've got something, go ahead and start working on your designs.
I'll swing by the lab later on with my dad to check in and see how you're doing.
Okay, guys, get on your marks, get set, go! Clock! Clock! Clock! Is there a color we're doing? What do you think about yellow? - Why do yellow? - 'Cause it's supposed to be, like, a happy-- a happy color, right? Njoroge and I select crayons, and our concept is a crayon man that came to life out of the crayon box.
And then we're going to make crayon fingers for him.
It's gonna be a-- a step out of what I usually do, because I'm mostly, like, sci-fi and creature stuff-- like, more realistic things.
But this one, it's just gonna be so much fun.
Katie and I chose the key, but we don't want to turn a person into an actual key.
So our concept is a well-loved older porcelain ballerina doll that unlocks imagination and creativity and love.
What about more champagnes - and silvers? - Yes.
We want to go with the approach of a skeleton key.
They have that beautiful design work, and we want to organically incorporate the key with our character.
- I'm feeling good about this.
- I feel pretty good too.
This can be like a breastplate.
Mm-hmm.
For the numbers, I'm thinking all over his costume.
Anna and I have the watch.
We're having trouble convincing each other of our ideas, and we're having trouble nailing down a concept that isn't so on the nose.
If you're not, like, into this, like, please, by all means-- are you liking where this is headed? I'm-- I'm feeling a little nervous right now.
I'm hoping Anna and I can come to some sort of resolution before we get back to the lab.
For our dice character, Robert and I think game board.
Robert comes up with the idea for the playing piece for on top of the head, and that's where we start going with the design.
- It's board-- Board Game Man.
- Board Game Man, yeah.
I will use red and white, and then maybe blue and yellow so I have it really colorful for the children.
Hey, everybody, let's go back to the lab.
Walter and I pick the race car.
We want to create something that a child would look at and want to be or want to own.
Walter's gonna start sculpting the chest piece, and I'm gonna start sculpting the cowl.
We're gonna be creating this super-cool, fast car-human hybrid-- like a feminine, cool hot rod.
We're taking a little bit of a risk, 'cause we're not putting any prosthetics on the face, but I feel really confident in my beauty-makeup skills.
And keeping our face human helps our concept, because it shows that it's a half human, half car.
Our concept is, there's this child, and his father runs a candy store.
And he realizes that he's going to have to take over his father's shop.
So he dreams up this character, this Lollipop King, who's the leader of all the other candies who's going to help him run the store.
Rob gets to work right away sculpting the cowl, Johnny takes the face, and I start to sketch a pattern for the vest.
Yeah, yeah, or culty, or anything like that.
Do you have any thoughts on that? I mean, that was everything I would've said.
- Okay.
- Yeah.
Yvonne is making the face, and I'm doing the cowl.
We start to grow a bit apart in the ideas.
I want to show you the nose on this one.
Oh, you want it, like, huge.
I think that's way too big.
I want to go all exaggerated and over the top, and she doesn't like it.
She's my partner, so we have to be political.
But I think, I go crazy on the hat.
Maybe if she goes more normal on the face, maybe it kind of blends together so it's like a balance.
Who knows? Jenn chooses to do the cowl, and I'm sculpting the face.
And the face is fairly straightforward.
It's got a little crayon-sharpener nose, and a big, giant, waxy brow piece.
And I really want to try and get the face molded today.
So how do you want to incorporate the numbers? I don't know if we necessarily have to.
We need numbers, for sure.
We were told to think outside the box, and we've decided to make a watch face the watch face.
I'm feeling nervous that it's not original enough to please the judges.
- What are your thoughts? - They're not just gonna look, like, stuck on him this way? I don't think it's gonna read a clock if we don't have numbers on it.
So now Anna's upset, and I'm upset.
The thing that's happening is you're over-thinking what the judges are gonna say to you.
Is that correct? - Am I-- - Yes.
We still have to figure out the concept, but right now, I'm just trying to get our hands on some clay and get moving.
I'm so frustrated.
If this is, like, a bottom look, it's gonna be more my cross to bear.
The thing that's happening is you're over-thinking what the judges are gonna say to you.
- Is that correct? Am I-- - Yes.
I'm so frustrated.
I feel like it's not original enough of a concept.
If this is, like, a bottom look, it's gonna be more my cross to bear.
I feel like you're stressing out about something that is a non-issue.
This is definitely my worst-case scenario.
They're not gonna be like, "You didn't put the numbers where we wanted you to put them-- bottom.
" I have to figure out a way to make this work.
Hey, guys, here to check in on you.
- Hi.
- How are ya? - All righty.
- So what do you have? - You have the car-- - Tell us, what did you pick? Yes, we have the car, so we want to incorporate - in this helmet-- - The actual car.
Yeah, real shiny, candy-apple red.
We're gonna put the number right here.
We plan to have exhaust pipes coming out here.
- Nice cowl.
- Thank you.
- But it's a makeup challenge.
- Yeah.
So what are you doing with the face, then? I wanted to use a little bit of silver on her face.
I was going to do, like, a really nice beauty makeup.
It's something I have a background in-- If you got the ability to do a really great beauty makeup, I would let 'em see it.
Okay.
What do-- what do we have here? - Is this the top of the crayon? - Well, yes, top of the crayon.
Right now, it almost looks like a person with a hat.
Yeah, I think it should be more cylindrical.
This ought to be a little thicker, - so that you can-- - Just straight down? - Mm-hmm.
- Yeah, yeah.
Just to take away that human look.
- That human aspect, yeah.
- Okay.
So we went with the Watch Guard-- - Is our character.
- Is our character.
He dictates when the toys are allowed to be alive in the children's room.
He's kind of like, "Our human is coming! - Everybody go to bed!" - Yeah.
So we were gonna do more of, like, a human flesh tone.
If you're going to go to a flesh, I would keep it on a light side so you don't start doing any shadowing, or it can get muddy and take it away.
Okay.
Thank you very much.
- Thank you so much.
- Good.
Good luck.
Mr.
Westmore says that he likes the direction we're going, so I'm feeling so much better.
So we're doing a fairly cartoonish human face, and then we're creating a scalloped lollipop headpiece.
And we're also fabricating a vest as part of the costume.
I'm concerned with maybe your upper eye there-- bring it back just a little bit so when he opens it, don't happen to come down below that crease.
Okay.
We went with dice.
- Dice.
- Okay.
And we're incorporating the dice into the balls of his cheeks.
So then there'll be, like, little freckles.
The upper lip is so distinctively human, - you're losing the fantasy - Right.
of the character.
This looks like a nose with an edge around it.
- Have it go down - Just like-- to disguise the lip also.
Okay.
We want to incorporate the shape of an old skeleton key into her body.
So the top part of her face is shaped like the key, and then the chest.
Knowing that you have the key, I don't see any of it at all.
I like what you're doing, and it's not a matter of starting over or anything, but what are you going to do to make this into a key? - You could almost come around - And connect it? the whole eye, and connect it into the top of the key.
- Okay.
- Okay.
All right, guys, we're heading out.
But it's looking really good.
- Thank you guys.
- Good luck! - Bye-bye.
- Bye.
Bye.
The face is finished, so I'm ready to mold.
This is a higher priority, because it is the central point of this makeup.
So I'm gonna take my time on this, and make it as good as possible.
That's time, everyone! Let's go, let's go, let's go, let's go.
Hustle, hustle.
Ant and I have to finish the sculptures.
We have to mold both the cowl and the torso piece.
It's gonna be a long day.
It's a car.
It has to be smooth.
It has to be sleek.
So we want to make everything perfect.
It's gonna be a challenge.
The neck looks a little bulkier on that side now.
Yeah, maybe that's what it is-- just the neck.
It is so much fun working on a whimsical character.
Njoroge gets his face mold out, and I'm gonna continue working on the cowl.
It looks whimsical to me.
It's a nice, cute crayon.
It's not perfect straight up and down.
It has a little character to it, so I think it's gonna work good.
That looks amazing.
Seeing it today, I'm like, "This is good.
" Like, what were we freaking out about? Mel and I need to finish both of our sculptures and mold them and get them ready for foam.
I was mostly freaking out about the time that we lost.
But it's over.
It's a new day.
We fell behind yesterday, so I get to work right away, and I'm super focused.
The watchband cowl is coming together really well, and I'm feeling leaps and bounds better than yesterday.
I start adding texture to the face.
I start blending out the edges.
I'm taking Mr.
Westmore's advice.
He said to exaggerate the nose some more.
It does look a little goofy, but I'm okay with that.
His facial expression's now good.
I think it does look better.
To me, he looks fun.
Oh, man, shit.
We open our two molds, and I notice there are a ton of holes.
I don't know what we're gonna do.
How's it coming out over there? - I got a bunch of cracks.
- Cracks? Yeah, there's holes.
Our molds look like Swiss cheese, which is a huge problem, because we don't have the time to patch them.
Patching's not even the word for it.
It's reconstruction.
This cowl is supposed to be super smooth and super straight, so if we don't plug these holes, our foam is gonna look horrible.
I don't know what we did wrong there.
We are in big trouble.
I don't know what we did wrong there.
We are in big trouble.
I don't know what the fuck was wrong with it.
We open our two molds, and I notice there are a ton of holes.
Time is ticking, and if we don't patch up these holes in our molds, there's no way we're gonna have anything decent for Application Day.
So we're in a really bad spot right now.
I start working on the vest.
Once I get all of the insulation pipe and surgical tubing laid down, I realize that this is gonna be a very big, very heavy, brittle mold.
So it might be better to just not mold it and make it a fabricated piece.
So I put several very thick layers of spray adhesive to hold it all together.
And then after that, I brush a couple layers of latex on top.
This will make it smooth and ready for Melissa to paint.
I'm working on designs for a front-of-the-body key face.
Mr.
Westmore said that our sculpts don't have the key feel to them, so we've decided that we're taking our face prosthetic, our neck prosthetic, and carrying it down onto the front of the costume to travel down the belly.
So when she stands up straight, she looks like one big key column.
And we're going to do a mixture of hot glue and epoxy to make it 3-D and bubbled.
This will make it a little more obvious without directly putting keys into the makeup.
It's gonna come out so cool.
Njoroge and I are having a crayon wrapper for his hair, so I'm marking off those designs on the paper, and then I'm taking scissors to the hair to get it to curl.
It adds that whimsical element to our character.
And when he moves, I hope it'll move with him.
That's time! Jennifer and I are in a good spot, but application does make me a little bit nervous.
It only takes a bad edge or bad color choice, and I could be in the bottom looks.
Yeah.
We'll see what happens.
- Yeah! - Yeah.
Ant and I check out our pieces and find large sections sticking out.
And our seam is 1/8-inch thick.
Today is gonna be difficult.
I've got a lot of holes that I'm gonna need to fill.
I'm worried.
I'm wondering if we're gonna be able to pull this one off.
I really don't want to go home.
How you doing, Christoph? - Hi, I'm Yvonne.
- Hi, Yvonne.
It's great to meet you.
I'm Kaleb.
You're going to be the Watch Guard, okay? We are going to paint our Watch Guard's face more human-like.
He's gonna have some more fleshier tones than a toy.
So we're gonna spatter in some reds and some blues to bring life to him.
We're also gonna make his nose and his cheeks a little rosier to give him more of that childlike, playful look.
- He can be a little rosy? - Yeah.
The hat fits pretty good! Kaleb and I are applying at the same time.
He starts applying the chest piece while I start applying the face piece, and we're both working slow, because we want to have the best edges out there.
And as I go, I'm dissolving and blending the edges down with a bit of spirit gum.
I think this is gonna look awesome when it's done.
Can you just keep it closed for a few minutes, - to let it dry real good? - Okay.
Njoroge and I get crayons that we can melt down, so we have working crayon fingertips.
As he's doing that, I apply the cowl to our model.
Do you think that feels all right? Yeah.
There's one edge that looks troublesome, and it's taking up a little but more time than I'd have liked.
But I need to get it done as fast as possible so we can get this out in time.
We finally get our pieces trimmed up, so it's time to paint the cowl.
Rob starts by basing it out in white, so that the colors will pop even stronger.
Then Johnny and I start going in with the airbrush and alcohol colors that'll make the lollipop sing.
Over the top, right? To a land of whimsy.
The paint's adding dimensionality, and it looks really beautiful.
I start painting around the face, but I notice that Robert's spending a lot of time on the cowl.
And I need to blend them together, so I'm giving more direction.
Is this all dry or no? Some not.
Finally, I just grab it and put it on the model and start gluing down the cowl.
How's that fitting so far? I'm scared to be in bottom looks, so I'm going as quickly as possible.
Don't pull too hard.
That's time! Blending the cowl edge took a lot of time, so I don't feel like our paint is where it needs to be.
It's streaky, and it's not looking like we'd hoped it would look right now.
So we're gonna need to do something in Last Looks to fix this.
Let me plug this blow dryer in.
So we have one hour left, and we have a face to apply, which is immediately what we start doing.
Then when we do start painting our yellow, it's got translucency, which is allowing the actor's skin to bleed through.
I don't think there's anything we can do to help this paint job.
It's not looking like either of us wanted, so we're just going with it, and hopefully we can get it out.
There was a lot of pressure on me to do a great beauty makeup, because the face is the focal point of any makeup.
I grab Kryolan Supracolor grease colors.
It's exactly what I wanted.
Everything looks perfect.
We have to finish painting around the eyes, apply the cowl, and get our model dressed.
Okay, bring the back lower.
Three artists and one model-- it's very crowded, but somehow we manage to not get in one another's way.
We're working as a perfect team, and it's pretty incredible to see it come together.
Yeah.
I'm sealing the eyes and she's sealing the mouth, and it's coming together.
I'm definitely feeling the adrenalin again.
I'm feeling nervous.
But this time, I'm feeling more confident.
That's time! We did it.
We could be in trouble.
- I think we are in trouble.
- It's okay.
We're in lots of trouble.
It's hard to look at.
It's not in the same league as the other makeups.
We're gonna be talking to the judges, and not on the good side.
We walk out, and it's Paul Reubens-- my childhood, sitting right there.
What? Everybody grew up watching his movies, so getting to show my work to Paul Reubens is super unexpected and-- and unbelievably cool.
- Good evening, everyone.
- Good evening.
Welcome to the Face Off Reveal Stage.
Let me introduce you to our incredible judges.
Owner of Alchemy Studio, Glenn Hetrick.
- Good evening.
- Hi, Glenn.
Oscar and Emmy award-winning makeup artist, Ve Neill.
Hi, everybody.
Hi, Ve.
Creature and concept designer Neville Page.
- Hi, guys.
- Hi, Neville.
And finally, we are joined tonight by an actor, writer, and producer who not only created the iconic Pee-Wee Herman character, but also recently co-wrote, produced, and starred in Pee-Wee's Big Holiday.
Who better to judge this challenge than the amazing Paul Reubens? Oh! Thank you.
Welcome, Paul.
We're so thrilled to have you here with us tonight.
Great to be here.
So you and Ve have worked on a ton of things together.
How is it to work together again? It's amazing.
We were just together shooting my movie that Ve did the makeup on.
And we've had a break, so it's great to be back here.
- You ready to see some makeups? - Absolutely.
All right, let's get to it.
I am nervous.
I'm wondering if the face thing is gonna bite us.
I hope we're a top look, but I would be happy if we're just safe.
I'm still feeling like a bottom look just because of the terrible paint and the one edge on the cowl.
I know they're not gonna be happy with it.
It's a beautiful makeup, but everybody else's looks wacky and crazy, and I'm worried that ours doesn't fit.
It's definitely not one of my best makeups, so I'm worried Robert and I may be a bottom look.
I feel really proud of this makeup.
I feel like it's better than I thought it would be, and we feel great.
I'm definitely happy with how it all turned out.
The whole aesthetic of it is very whimsical.
I think we could win this one.
All right, judges, go ahead and take a closer look at these crazy, colorful characters.
I don't know why they thought it would be all right to just paint the face silver.
It feels like this is mostly costume work.
Can you turn around for us, please? - That's cute.
- One side of it's matte, and the other side's shiny.
I like that.
This is coming right up.
Oh, I split that there.
With something this big and cumbersome, why not just fill in that neck? We do we even see an edge there? Even though it's supposed to be a crayon, it's a makeup.
It should've had some dimension painted on it as well.
I love the eyebrows.
I'm not gonna marry 'em, but I do like them a lot.
So grungy.
It's gone so grey on them.
There's so many colors layered.
It almost does feel like a corpse.
I think that this is an incredibly artistic, great idea that leaves something to be desired in terms of the execution of it.
I think this was a really bad idea to put this thing on his nose.
It looks like a baby-bottle nipple.
Ooh, some serious edge problems here.
I see the judges pointing out those edges, and I know they're really bad.
That's really rough.
So I'm extremely worried.
All right, guys, it's time to get on Twitter and tell us who made your favorite colorful character tonight, using #FaceOff Ooh, some serious edge problems here.
I think they're pointing out those edges, and that's scary.
There's a pretty good chance we're gonna end up at bottom looks.
- It's scary too.
- Yes, I agree.
I don't know if that's intentional, but it is really-- - It's the clown thing.
- Yeah.
It has several different colors stippled over it, just to bring it some depth and complexity.
- I'm really liking that.
- I am too.
I think it's beautiful.
I wanted to see it be a happier lollipop.
He looks like a sad lollipop.
He's candy.
All the ancillary ideas are well expressed and developed.
And the palette is really unique and still very childlike and playful.
- Thank you.
- Thanks.
- Thank you.
All right, the judges have scored your creations, so let's find out what they thought.
Walter and Ant, Katie and Kaleb, congratulations, because you are all safe and can head back to the makeup room.
Good job, Kaleb.
So the rest of you were the best and the worst this week, and the judges would like to find out more about your work.
Johnny, Melissa, and Rob, you're up first.
Let's start by having you explain how your lollipop inspired this creation.
He's the imaginary friend of a little boy.
And his father runs a candy store, which isn't doing so well.
So this little boy conjures up this lollipop man who will help him run the candy store, because he's the king of the other candies.
I think this is a highly successful character.
Who did what? I sculpted about 80% of the cowl.
Melissa and Johnny tackled the face.
Melissa and Johnny tackled the vest.
I created the cane topper, and we all painted everything.
Well, you've got a lot of colors going on here, and they're all working in concert, they're harmonious.
And for this challenge, I think it's very appropriate.
Thank you.
The headpiece is really beautiful.
It's very childlike-- just what I asked for.
And I'm very happy with this makeup.
You guys did a great job.
Thank you.
It's been making me crave sugar.
I love the color palette.
I think it's beautiful.
The headpiece is beautiful.
I love everything about it.
I just wanted it to be happier.
My favorite part about the character is its appropriation of the elements of candy in a unique way.
You've managed to keep it childlike, yet sophisticated.
Johnny, Melissa, and Rob, please step back.
Njoroge and Jennifer.
Tell us about your character.
He's one of the crayons that lives in the box.
He has put together his assembly of crayons to communicate, with his pad, and has jumped out of the box to find the other toys.
It's not quite as cool as it could've been.
You have some problems with your neckpiece.
And the fact that you didn't do any highlighting and shadowing to give it more life-- that was a missed opportunity.
The thing that bothered me-- and I would say almost tortures me-- is, he's a yellow crayon.
If he's gonna write on himself, it has to be yellow.
Even though you have all those colors, I wanted to see yellow.
Head to toe, it just feels a little uninteresting, visually.
And it feels incomplete.
You end up with just this yellow stick.
Explain to me how you broke down the responsibilities on this makeup.
I sculpted the cowl and Njoroge did the face.
We both painted.
You haven't done a whole lot prosthetically, and you've kneecapped yourselves by making it all one color.
Right.
Njoroge and Jennifer, would you please step down? Anna and Mel, please step forward.
Would you please explain what's behind the concept? When the toys are alive and playing, his role is to warn them when the children are coming back to the room, so all the toys can go to sleep.
But he's a little kooky, because he never sleeps.
He's always watching.
- Pun intended? - Yes.
I like everything about this.
The band on his neck and how you've configured it on the side and on the top and how that fits I think is really extraordinary.
- Thank you so much.
- Thank you so much.
You've managed to use four different colors of stipple on the face, so this creates an illusion of humanity, because you treated the face of the clock like skin.
That was very well thought out.
- Thank you.
- Thank you.
Who did what on this character? I was responsible for the face and the neck and the paint job, and Anna sculpted the cowl.
This is a really successful makeup.
Your paint job is gorgeous.
You really took your time with this, and did an exquisite makeup job.
- Thank you so much.
- Thank you.
Thank you.
Anna and Mel, you can head back.
Thank you.
Yay.
Robert and Yvonne.
Tell us about your concept.
Well, we got the dice, and they represent board games.
So we thought we'd incorporate a character with board game items, and we turned it into Board Game Man.
It's clear that he's Board Game Guy, which is a great name for a character.
Thank you.
It's Board Game Man.
Board Game Man, excuse me-- even better.
Do you see the way he's looking at us? It's creepy and weird, and that's the part that bothers me a bit about this.
The sculptural forms on the face and the lack of proportion change make it feel horror, versus playful.
Can you tell me how you split up the workload here? I sculpted the cowl, the headpiece, and she did the face.
It feels underdeveloped in how you translated your concept into a makeup.
He's just so spooky, with his human eyes showing through this-- this otherwise playful makeup.
I got to agree with everybody.
He's scary.
You cannot take a baby-bottle nipple and put it over someone's nipple.
If you have a nipple shape, it can't go on a nipple, unless you're really going for a nipple there.
I'm sorry I'm saying "nipple" so many times.
It's okay.
We-- we tried to keep it away from two of them, 'cause we noticed that.
So don't worry.
Yeah, um, I understand what you were going for, but I-- I think it's a mistake.
Robert and Yvonne, you can head back.
All right, thank you guys.
If you'd please head back to the makeup room while the judges deliberate.
Hi, judges.
So, just as a reminder, you do have that one-time special immunity that you may use, if you wish.
So, with that, let's start with the looks you liked the most this week.
Why don't we begin with Rob, Johnny, and Melissa? I really thought it was a very cohesive, complete design-- beautiful colors, beautiful palette, really exceptional.
It was fantastic, right down to the jacket that I loved.
It was so beautiful, the colors.
And up close-- it was so much better up close even.
Let's move on to Anna and Mel.
I think they did a fantastic job.
Everything was just beautifully painted.
They had all those beautiful levels, that slight blush cheek.
They gave it great direction.
Sculpturally, there was a lot of form pulled away from the actor's face, but they retained his ability to really perform through it.
I thought, more than anyone else, the model really helped it.
He just sold that.
So let's talk about the looks that weren't so successful tonight.
Let's start with Jennifer and Njoroge.
They really missed the opportunity to do a really cool paint job on it.
They just left it flat.
The idea of making it a single crayon and painting it a single color-- it's just a poor idea.
It was devoid of any cosmetic interest whatsoever.
All right, and lastly, Robert and Yvonne.
Because of the scale issue of the head and some of the sculptural choices with this blank, white face, it pushed it into a horror category.
It was just confusing, the whole head.
Getting rid of his ears and just seeing the corners of the dice like bookends on the side of his head made his head look really tiny.
- And it did-- - It did, didn't it? It looked weird compared to the rest of the body, And the way that they translated this concept-- interpreted it as a makeup-- was a failure.
All right, judges, have you made up your minds? - We have.
- Let's bring 'em back out.
Welcome back, guys.
All right, Glenn, tell us about the top teams.
Rob, Johnny, and Melissa, your artistic flair was on full display with this character, and the colors were exceptionally well-tailored to this challenge.
Anna and Mel, your character is sweet and fun, which is just what it should've been.
And the paint on the face was quite exquisite.
Okay, which team came out on top? The top team tonight is Okay which team came out on top? The top team tonight is Anna and Mel.
You did a phenomenal job translating your object into a convincing character.
And that is no easy task when the object is a watch.
- Great job.
- Thank you.
- Thank you.
- Anna and Mel, congratulations.
But, as you know, we can only have one winner.
Glenn? The winner of tonight's challenge is Mel.
- Yay.
- Thank you.
You did a beautiful paint job on the face, and the sculpture really allowed your character to shine.
- Well done.
- I feel so, so honored to be the winner.
Winning this challenge is gonna help me, moving forward, and I feel like I can create great things because of this.
- Mel, congratulations.
- Thank you.
You, Anna, Rob, Johnny, and Melissa are all safe and can head back to the makeup room.
- Thank you.
- Thank you guys.
- Good job.
- Good job.
All right, guys, that means the rest of you are on the bottom, and one of you will be going home tonight.
Please step forward.
All right, Glenn, tell us about the bottom teams.
Jennifer and Njoroge, you had a few good ideas, but you shot yourselves in the foot choosing yellow and not adding any shading or graphic to break it up.
Robert and Yvonne, the board game concept was a good one for your dice, but ultimately, it felt underdeveloped in terms of your ability to execute the makeup.
So who's going home tonight? The person going home tonight is Jennifer.
While we did have several issues with the makeup, one of our least favorite pieces was the disproportionate cowl.
Okay.
Jennifer, I'm so sorry, but you have been eliminated.
That means Njoroge, Robert, and Yvonne, you're safe this week and can head back to the makeup room.
Jennifer, because it's so early in the competition, we really haven't gotten to see everything that you're capable of doing.
But I hope you had a good time while you were here, honey.
Sure, I did.
You guys are awesome.
Jennifer, it's been so great having you here with us.
But if you'd please head back to the makeup room and pack up your kit.
- Thank you guys.
- Thank you.
- Good luck.
- Good night.
Bye, honey.
- Good luck.
- I know I could've done better, but I know my family's gonna be proud of me.
It's me.
What? I love to do makeup, and being on Face Off has given me a lot of confidence that I could do this professionally.
I learned a lot, and I'm only gonna get better.
I'm excited to put my skills into something amazing.