Face Off (2011) s10e13 Episode Script

1 McKenzie: Previously on "Face Off" You guys ready to prove that you have what it takes to make it in the big leagues? All: Yes.
McKenzie: After a sensational season of twists and turns, three artists rose to the top.
I want to win this because it would absolutely change my life.
Winning "Face Off" would prove that I can do something amazing.
And I really, really want it.
This is something I worked really hard for and I want to win it for my family.
I can't let them down.
My family's my everything.
McKenzie: And tonight This finale is going to dive deep into the world of horror.
- Wow.
- Yeah.
This is as real as it gets, and I got to step it up.
It's so much work.
It's mind-boggling.
There's all this chaos, and I'm just like, "Holy crap, I'm in over my head.
" Action.
I don't want to start over.
$100,000 is on the line.
McKenzie: 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.
[exciting music.]
This is "Face Off.
" [exciting music.]
[dramatic music.]
We arrive at this oil field, and we're surrounded by these oil derricks ominously bobbing.
- That's creepy.
- The whole place is scary.
I don't know what McKenzie is planning, but this is a great setting for the finale.
- Final three.
- Final three.
Hey, guys.
- Hi.
- Hello.
Welcome, and congratulations again on making it to the finale.
- Thank you.
- Thank you.
You guys look a little nervous are you? - Yes.
- Yeah? - They're not scared enough.
- I'll get there.
I'm working on it.
Get ready.
Well, I'd say there's nothing to be afraid of, but that's not exactly true.
Of course not.
This finale will be all about thrills, chills, and of course, big scares.
Nice.
And that is where my friend here comes into play.
He's an Oscar-nominated and Emmy award-winning producer.
And his company Blumhouse has revitalized the horror film genre with mega-hit franchises like "Paranormal Activity," "Insidious," and "The Purge.
" Please welcome super producer Jason Blum.
[applause.]
Thank you very much.
Jason Blum has made terrifying films.
He knows the horror genre.
I'm really excited he's here.
Thanks for having me.
Thank you so much for being here.
We're so excited to have you on the show.
I'm excited to be here.
All right, guys, you may have guessed by now that this finale is going to dive deep into the world of horror.
Okay.
For your final Spotlight Challenge, you'll each be creating two makeups that will star in their very own horror film.
- Wow.
- Yeah! [Laughs.]
I'm sure you're wondering what your films are gonna be about.
Well, Jason here has curated and published his very own book of horrific short stories called "The Blumhouse Book of Nightmares.
" And the show's producers have adapted one written by Christopher Denham called "Hellhole.
" Jason, why don't you tell them a little bit more about this? Well, "Hellhole" is about a family.
They buy a house and after a few nights in the house, they realize they have a portal to hell and a demon and very bad things start to happen.
- All right.
- Sounds like fun.
All right, guys, so we found three up-and-coming directors who have each come up with their own take on the script.
You will each be working with them over the course of the next week to create your films here at this very creepy house.
Wow.
This challenge is very exciting.
We'll be working as on-set makeup artists.
This is as real as it gets, so that's really cool.
All right, well, let's meet the next generation of horror directors.
Guys, come on up.
[applause.]
- Hi.
- Hi.
All right.
Welcome, guys, thank you so much for being here.
- Thanks for having us.
- Good to be here.
First we have John Wynn.
His spine-chilling supernatural short film "The Passing" made its way to the top of the list for famed director Guillermo del Toro and Legendary Picture's House of Horrors contest.
Wow.
Next we have Bryce McGuire, whose starkly composed an eerie short "Night Swim" managed to make a fan out of veteran horror filmmaker Eli Roth.
Nice.
And last, we have Ryan Spindell, an award-winning director who's been creeping audiences out at festivals all over the world, including the Tribeca Film Festival.
Oh.
All right, well, these guys are anxious to get you up to speed on their scripts and share their storyboards with you, but first, you're gonna need some help to create those incredible makeups.
Guys, come on out.
[cheers and applause.]
It's all our friends! [laughter.]
- Good to see you guys.
- Yes, good to see you.
All right, you'll each have the assistance of two former contestants to help bring your unique visions to life.
- Rob, you're up first.
- Kaleb.
- Melissa.
- Yvonne.
- And Walter.
- Melly Mel.
- Yay.
- Anna.
- Yay.
- Johnny.
- My man, Robert.
- Yeah! - Thanks, man.
- Good to see you.
All right, because we want great final makeups, you will each have a lighting and camera test before we shoot the film.
This gonna allow your directors to provide feedback on your makeups and give you the ability to adjust or recreate them before the film shoot.
All right, well, I do have another surprise for you.
Jason here will be joining us as a guest judge for the finale and helping to choose this season's winner.
- Nice.
- So make it great.
[applause.]
Very cool.
Okay, your directors have been randomly assigned to you and they'll be along shortly to talk you through the films.
In the meantime, go ahead and read your scripts and start thinking about your designs.
- Nice.
- Bye, guys.
- Good luck.
- Both: Thank you.
[upbeat techno music.]
Okay, "Hellhole.
" Here's the script.
"We open on a wide shot of a crumbling old farm.
The landscape is dead and barren.
Martha opens the large double doors.
Her eyes wide open, she screams.
She is completely entwined in thick black vines.
The Harvest Demon rises up, its body a sinewy mass of vines and skittering insects.
" Our director's version of "Hellhole" is this family moves into this house and a demon comes up out of the ground.
So the words that describe our demon are "gourd" and "sinewy," so we're seeing that the characters and the demon especially are very earthy and lots of vines and tree stuff.
Man, he's so big.
I'm not a huge fan of doing the tree stuff and I'm trying to figure out what I'm gonna do with it.
- Hey, guys.
- How's it going? - What do you think? - We're ready to win.
- Pretty cool.
- We're gonna win? All right.
That's what I want to hear.
That's what I want to hear.
Yeah, so the idea is that there's this ancient creature that's been laying in the ground for centuries and its roots have spread throughout the ground.
So its body is, like, of the land, but it's also sort of pulling itself out.
Ryan is extremely passionate about the characters that he's created.
It's definitely helping me see what he's seeing.
I want to go with this more, this organic type of demon, to break up the typical human form.
Yeah, like, get rid of the nose, get rid of the ears, get rid of things like that? - Yeah.
- Right.
I think that could be really, really cool.
The demon is this half-pumpkin, half-tree character.
Everything goes to one angle, so it's all off balance and it looks scary all together.
Walter was talking about her sort of having, like, the vines going in and out of her, like, almost painfully.
Yes, I'm into that idea.
I'm really happy with what we came up with for the possessed character, which is just vines interweaving and possessing her at the same time.
- Thank you so much.
- Good luck.
Thank you.
I've got a lot to do.
My team and I definitely have our hands full with both makeups.
"Interior old mansion.
Day, 1933.
" The script that we have for "Hellhole" is about a young couple who moves onto land where they want to build an oil field and in doing so, they break the Earth and release this demon that doesn't want them there.
"She swings the flashlight forward, illuminating a massive horned figure standing behind her that looks like it was birthed from the earth.
" Oh, my God.
Okay, that demon sounds amazing.
Sounds like a lot of work.
- Hi.
- What's up, guys? I'm so excited.
Rob.
- Nice to meet you.
- You too.
Bring it.
I'm really excited to hear what our director has in store for us.
Just imagine this thing as, like, it's been molting and cracking in that dry earth, like, even, like, the skin being kind of, like, white, pale, crushed, cracked.
How much do you want us to stay away from him looking like a goat? I I feel like I'd rather see something new.
Okay.
After talking to Bryce, we decided to make the demon look dry and cracked and sunbaked.
I like when you said the idea of the creature being cracked and old.
I was thinking something like that for her.
If she, like, has, like, a black tear or something? For the wife, we're thinking of just the basic possession makeup.
There's lots of oil dripping, so we're thinking of adding that into the design as well.
- Yeah.
- Oh, my God, it's so exciting.
- Okay.
- It's so cool.
- On top.
- Yeah! [laughter.]
"Interior living room.
Night.
Martha blows dust off the old chest, lifts the lid open, finally revealing Mr.
Sticks " Ooh! "A doll with a strange cyclops eye.
" I think the script sounds pretty cool.
It's about this couple who finds this creepy doll named Mr.
Sticks and then they burn him, and in doing so, they unleash this demon.
"Our demon steps forward into the light, revealing the ghastly body of the chupacabra mashed with face of the hatchetfish and the teeth of Goliath tigerfish.
" - Okay.
- All right.
I'm like, "This looks like a hot mess," in my head.
So I really need to talk to the director because I need to find out what he means by all this.
I really like the idea of a single eye somehow in the design of the creature.
John really wants the demon as being a cyclops.
And I'm like, "Great, we just did the cyclops makeup.
" And to help you tie it together too, at the end of it, - our male is possessed.
- Yeah.
Think about him becoming the new Mr.
Sticks.
- Yeah.
- That's why he's possessed, - because the demon needs a new - That's a cool okay.
He needs a new connection to the real world.
I have a very strong idea and I've told you good general basis for what that is, but at the end of the day, I'm relying on you guys to make something unique and special.
I feel a little overwhelmed, because I have too many ideas in my brain.
There's a lot going on and there's a lot of things to manage, and I need to be super duper organized on this one.
All right, guys.
Let's get started.
- Whoo.
- Back to the lab.
Back to the lab.
Back to the lab.
All right.
[exhales.]
Let's see what we got.
Here.
The first thing we do is figure out what we need to get done and who can take point on it, 'cause obviously I can't do everything and it's really hard to, like, relinquish that control.
I want to take the face on this one 'cause I really want to sculpt this.
Okay.
I'm doing the face for the demon 'cause he's the central character and I want to have the most hands in that.
I feel more comfortable with the horns.
Yvonne really wants the demon cowl, so she takes that, and Johnny takes Sam's face.
My idea is that it's a trauma makeup.
He's had his eye ripped out.
And maybe he's got some sticks in his face.
- Okay.
- Go.
All right.
I'm still not sure how to incorporate the cyclops aspect without recreating the makeup I did on the Cyclops Challenge.
I've scraped the bottom of my creative barrel, but this is the finale.
I got to bring it, I got to bring my A game.
If I can win "Face Off," I can have the money to help move my family and pursue the career that I've always wanted to do.
So I need to figure it out.
We want this demon to be larger than life, so we're doing a chest piece to bulk him out, a face piece, and a cowl, and then for the possession makeup, a simple face piece with a very pale, speckled, cracked look.
Anna starts sculpting the possession makeup, and I start sculpting the demon face.
I'm not too thrilled with my idea for this demon, but I don't have a lot of time left, so I need to start sculpting right now.
Where are you gonna make the horns coming out of? I'm thinking of trying to build it up.
- Yeah.
- So it makes him look taller.
Mm-hmm.
Robert and I are attacking the demon makeup and Mel is sculpting the possessed makeup.
How were your directors? Were they nice? Yeah, he's really cool.
How's your guys's director? - He's awesome.
- Yeah? Definitely has a lot of faith in Walter.
Aw.
I've got so much in store.
Ruh-roh.
Ryan wants to avoid the typical demon look, so we've got to completely take away every single element that is human and make a scary but non-demonic pumpkin/tree creature.
Since we've got so much to do with the demon character, I really want to keep the possessed makeup super simple and very humanlike.
I got to manage my time well to incorporate everything, make Ryan happy, but also do something I'm proud of that's my style that is gonna help me win this $100,000.
John wants a cyclops demon, and I think it's important to show him something that's not already represented in film, so I dig deep and decide to do a cyclops demon without an eye, so it's just this fleshy membranes behind, 'cause it gives that extra element of horror.
Hopefully, John will love it.
Hey, guys.
We're here to check in on you.
- Hello.
- Hey.
And we have a surprise for you.
What? What is this? What is happening? Oh, my God.
I'm already really stressed out.
What else are they gonna throw at us now? Hey, guys.
We're here to check in on you.
- Hello.
- Hey.
And do we have a surprise for you.
I would like to introduce an Oscar-winning makeup artist who has worked on "The Princes Bride," "Braveheart," and "Lincoln.
" And she's also a member of the "Face Off" family.
Lois Burwell.
Oh, my goodness.
[laughter and applause.]
How are you? What? I'm so excited to see her.
I've always wanted to hear her critiques, and she's just so cute and British.
Lovely to meet all of you.
I'm looking forward to seeing your work.
- Guys ready to do this? - Oh, I'm ready.
- Hi, nice to meet you.
- Hello, nice to meet you.
So he liked the idea of a lot of angular forms.
Something more animalistic, kind of dripping with oil.
I liked doing away with kind of the nasal labial folds and bringing the chin down a little bit more.
The thing you have to watch with any cheeks like this and the nose being rounded, I know you want animalian, but everything can end up looking leonine, and it's a distraction from what you actually do want it to be.
Okay, let's see what you have going.
The idea is that this will be a vine, so she can still articulate and move under it.
I like what you've done here.
But sculpt a little bit of disrupted skin going around, otherwise it's gonna look like it's glued right smack - on her face.
- Yeah, we need an entrance - and an exit point.
- Exactly.
Walter, let's see what your next piece is.
Let's see what's going on over here.
Ooh, wow.
I love everything you have that's going on around here.
Did your director say to you the kind of lighting style he was going to be using? He said it's gonna be a lot of, like, slated shadow lighting.
So bear that in mind, because it can cast a shadow and this form could create problems.
He really wants to incorporate his symbol.
Right.
And we're not sure whether to, like, do it on the forehead or somewhere else.
Yeah, the chest might be better.
Or even to one side.
I wouldn't put it straight in the middle, 'cause if it's right in the middle, - it'll look like Superman.
- Power Rangers.
That's what I was thinking.
The superhero.
- He has to be a super demon.
- Yes, so somewhere Only if it's a lightning bolt.
- Somewhere to one side.
- Okay, cool.
This is our possessed character.
When the wife destroys the doll, the demon makes the husband into the new doll.
This is really so subtle.
You need to give yourself more exaggeration to it.
Okay.
I agree with Michael completely, but I would actually cheat and shift the shape of the eye, because otherwise, you're going to be trapped - by the actors own shape.
- Yeah.
- Do you see what I mean? - Yeah.
All right, let's see what you got going on here.
So this is our demon.
Instead of having, like, an eye, I wanted him to have a lack of an eye so he uses the doll to see into our world.
What do you have going on in the chin? - I don't know yet.
- You don't know, okay.
I just wanted it to appear like a strong jaw.
That's all I've got so far.
Well, you do that on your jawline.
Now if you make that stronger and you bring it in, then this won't look like it's, you know, sticking out on you.
- Okay.
- Yeah.
All right, everybody.
We're heading out.
Keep in mind time management.
- Very important.
- Good luck.
- Thank you.
- Bye, guys.
- Great job.
- Bye-bye.
[upbeat techno music.]
This one can be more pointy.
This one, more lumpy.
Okay.
Ryan wants the demon character to have an asymmetrical feel, so from one shoulder, the branches are gonna twist and turn into vines, and then on the other shoulder, the massive pumpkin texture comes up into this gross gourd-like thing that creates a powerful, scary profile.
We have a lot of work to do, but I wanted really to make him over the top.
I want the best biggest creature I can come up with.
That's time.
Oh, boy.
Walking into the lab today, I've decided to just resculpt the entire demon face.
The face is gonna have, like, smaller eyes almost like a mole has with, like, the circles around it, and we'll keep the circle theme going throughout.
Bryce's idea for this demon is that it's an underground dweller with features that help it dig through the Earth.
Now that we have a direction, like, in my head, we're good.
- Okay.
- Way better than yesterday.
Yesterday, I was like, "What the hell is happening?" The top of the head has horns in the shape of, like, a cutting saw.
It has very small mole-like eyes, very pale, cracked skin.
I'm thinking a rhino has all three of those things.
That could be a cool place to start at this face design.
I am getting the forms on there and seeing this new shape, and I'm actually really liking how it's going.
Okay, I think this guy's about ready.
- I'll take him.
- Okay.
Johnny has volunteered to be in charge of molding, 'cause he's the best molder.
And then I take over Sam's face and Yvonne is continuing to work on the cowl.
I'm feeling confident today because we're in a good spot.
I like the direction I'm going with the face, so I now I have to start a cowl.
Each of these, like, main bone groups are gonna have, like, a horn.
We're trying to get horns in a shape that's never been done before.
We want something very unique.
Something kind of like that.
A very asymmetric, spirally, uneven horn that are very large that adds a lot of height and bulk to this character.
I like this shape.
Just make his neck wider, I guess, in the back.
I'm so proud of my team.
I feel like we're working really well together.
I tried to bring a little bit into what I think is the wood texture just so it looks more like it's morphing.
I know that Ryan wants this symbol on the demon.
But the faces are the focal points of the makeups.
So we need to spend time on them because they need to be perfect.
I'm treating this camera test like it's the day of the final film shoot.
I don't want to be redoing a cowl or redoing a face because, you know, Ryan wasn't happy with it.
I want him to be happy.
I want his vision to be seen.
- That looks cool.
- Yeah.
For the demon character, I want to remove his nipples and address this idea that he's been summoned, so I want him to have this symbol on him.
I'm sculpting out the symbol.
It's like a V-shape with circles that go onto the pecs, and I'm not happy with it.
It seems too simplistic and it's not circular enough, but I think it's important to present John with something for the lighting test, so I can at least do something as a placeholder to get us talking about it.
We go to open the cowl mold for the demon and it comes apart pretty easily.
But the head form is just not popping out of it.
Mmm.
[bleep.]
.
This cowl's one of the biggest parts of this makeup, and it's just not coming out.
I just don't know where all the suction is.
We don't have the time to scrap this cowl.
I'm afraid we're gonna have to break part of it to get this positive out.
This might cost me this competition.
[bleep.]
.
We're trying to pop the back half of the demon cowl, but it's locked.
Let me see if I can get it from this angle.
Lift that up as I do this.
We're fighting with this, trying to get this positive out of the mold.
[dramatic music.]
- Yeah! - What the hell even was that? I don't know.
Because it took so much force to pull the positive out, a portion of the mold did crack.
That means a little bit of repair later on.
But at least now, we have all of our pieces.
We can really make a game plan for how this application is gonna go.
[upbeat techno music.]
Ryan and I decided that I'm gonna achieve that powerful larger-than-life silhouette that he wants by building up the cowl.
I love going big and trying to do more than everybody, but at the same time, it's really a tough choice, so it's extremely important to stay focused and stick to the plan.
For the possessed character, we want to carry this diseased-looking erosion of the skin down into the body.
I really want to show damage over the heart that shows disease got into the vascular system and then has been spreading through the blood.
So I want to have the larger diseased area over the heart and then have it spread out from there.
Finally, I'm happy with my pieces, so I decide to mold.
All right, I'll be back.
We're running a little tight on time, but Johnny's finishing up the face molds, I'm hopping between the cowl and the chest piece, and we're just all molding at the same time.
I basically just need something to put on his back.
Bryce wants a creature with a strong silhouette that picks up dirt, roots, and plants as it's digging through the Earth.
So Kaleb starts fabricating this big back piece that makes it look like roots and plant life to make him larger than life.
That looks really cool.
I think you got to start shimming that up.
Yep, I do.
There's less than two hours to go, and I still need the shoulders molded, I need the cowl molded, I need the plate molds molded, and I need them all done as fast as possible.
It's mold-making madness.
It's all pretty hectic and pretty crazy with time just flying by.
Our molds are finally set, but I'm down to the wire.
I only have minutes to clean them out.
I don't know if I'm gonna get all these molds done.
I really don't.
That's time, everyone.
By an act of God, I get these molds done and ready to go.
I'm absolutely relieved and I can't wait to see what they look like tomorrow.
Yeah! Go, Team Badass! - Beautiful! - Team Badass! Oof, that's creepy.
All right, that's big.
How does it all look? These edges are fine.
We look at our foam pieces, and they're all really good, except the demon cowl is almost in half.
We're gonna have to patch it.
This is probably the worst foam I've had.
Oh, these edges are so bad.
So there's gonna be a good amount of patching to do.
Hopefully that leaves us time to paint both makeups.
Hello.
Oh, models.
Hi, Kaya.
I'm Rob.
- Nice to meet you.
- Nice to meet you.
You're gonna be our massive tree demon.
That's what I that's what I'm hearing.
So you're our demon, you're our possessed guy.
Johnny and Yvonne are really strong on application, so Johnny's applying the possessed makeup, Yvonne's taking point on applying the bald cap to the demon, and I'm working on pre-painting the cowl and the face while they're doing that.
We have a lot of work ahead of us, so I immediately have Mel start applying the possession makeup, and then Robert takes the demon into the mold room to take casting of his teeth, 'cause I don't really want anyone else seeing that that's what we're doing, 'cause I don't want to give anybody else ideas.
Okay, try not to bite so much.
[mumbling.]
'Cause you're biting my finger.
The model won't actually be able to wear the teeth to the camera test, but the plan is to have something for the final makeup that will really make him over the top and hopefully give me an advantage over the other contestants.
Try to get the glue at least back to, like, - two or three inches.
- Okay.
We finally finish getting everything patched up and trimmed, so now Anna is applying the possession face and Kaleb is applying the cowl while I start painting.
We are seriously under the gun.
I got this side.
And I'm freaking out about everything that I need to get done.
But we're working really well together.
Perfect.
And I'm extremely grateful and thankful for that.
How's that feel on your nose there? My nose is good.
You go with this color on the tree side.
Yeah, okay.
And then I'll go on this side with this color.
The paint scheme that I want to go with is more pumpkin/gourd on the gourd side and then I'm gonna go with the tree side in between really dark brown and medium brown.
As I'm sponging, I tell Robert to start throwing moss on him and all of the sudden, Robert creates the moss man prophecies.
He's pulling apart moss and gluing it in places that I have thick edges.
What he's doing with the moss is really adding to my makeup and is making it look phenomenal.
I am just not on my game today.
Time is ticking away and we still have a lot of work to do.
I do not think I'm gonna get it all done, and I'm really, really frazzled.
Now it's about prioritizing and getting the best looking makeup I can in the short amount of time.
15 minutes.
That's time.
I'm not thrilled.
It's a really quick paint job.
It's not what it could be.
I've no idea what to expect from the camera test, which is definitely nerve-racking.
I hope that I make a good impression.
[dramatic music.]
Johnny and I are gonna work on you, and Yvonne's gonna work on Matt.
Even though it's only two makeups and we have three artists, we're doing a lot of coverage.
Both of our characters are shirtless.
We need paint on both of them.
There's a lot going on.
Let me finish airbrushing you.
I start painting these red circles, like, sort of the skin pattern.
I think it looks kind of cool.
We don't have teeth for our demon, so I take tooth black and just paint it onto his teeth to make them look sharper and more jagged.
It's very important for these edges to be down for this possession character, just because this is gonna be filmed.
It has to be seamless.
Melissa, do you want the oil dripping out? - Dripping would be good.
- Okay.
15 minutes.
Time's up, guys.
You're needed on set.
Good job, you look terrible.
I'm very proud of my teammates.
They came together, they worked really hard.
But I'm the lead.
It's ultimately my vision that they're bringing to life.
So I think I could have done better.
I'm very much looking forward to seeing the makeups on camera.
But walking to the stage is kind of embarrassing, 'cause we definitely need to make improvements.
So I hope the director won't be too harsh on us.
Hey! Hello.
Hello! We walk into the stage, and I'm just like, "Holy crap, I'm in over my head.
" There's just all this chaos going on with setting up the lighting, the cameras, the monitors, and even though I'm a little scared, I'm super excited.
So let's get let's get right into it.
The first thing we're gonna do is we're gonna put Jeff, our demon, in the first setup where the light is swinging.
Things are looking good here, but let's see what it's like under the real lights, okay? - All right.
- Cool, right over here, guys.
I've only made makeups seen in real life, and here we're gonna look at it in a very different fashion, and I have no idea what to expect.
This is a good thing for us to see now.
You'll get to actually see the lighting setup we're thinking about, so that's what we need to look at is these little creases and stuff that may be giving away some of the secrets.
It's really cool to see this though.
When I see the demon on camera, it's so cool to just see it in a video.
It's right there, but it's a movie.
Before we call, "Action," will you just tap the light for me so it's swinging? And action.
So even there, like, if his fingertips are glistening.
Maybe, like, the front part here is glistening a little bit.
Yeah, this isn't quite right.
Yeah, we'll work on this.
John doesn't like the chest piece.
I don't like the chest piece.
No one likes the chest piece.
Be careful that when we create the oil coming out of him that it doesn't look like he's lactating.
- Yeah, that was a concern.
- You know what I'm saying? Right.
Maybe if we put - the designs higher.
- Yeah.
The chest piece looks terrible.
It's a little bit of a bummer because this is definitely not the first impression I wanted to give the director.
Slowly open your mouth, Jeff.
Maybe if we can make it so when he opens his mouth, something is coming out of it.
- It's almost like a little goo - Chocolate syrup.
Yeah, yeah, exactly.
It's coming out of him.
If we have more of the mouth oil, go go ahead and give him that.
- Yeah, let's just try it, yeah.
- Yeah.
And action.
- Yeah, see - Oh, so gross.
See, that's what we want.
That's what we need right there.
- Okay.
- Yeah.
Other thing we should probably do here, is really make his eye area as red as possible.
Everything else is great being muted, but that needs to pop on camera.
There's some flaws, but he's very happy with our demon face, our demon cowl, so we don't have to resculpt those, which is a huge relief.
[laughs.]
Let's have Sam fly in and let's give Jeff a a few minutes off.
And action.
Look up towards the camera.
Tilt your head towards the light.
When he gets revealed, we need to move this makeup on his chest further up - to his shoulder.
- Okay.
And even if it does creep up on to his up here, that's fine, because that will give me more of a reveal.
Now raise your right arm up, as if you were asking for help.
We need to build some sort of appliance, more about his hand versus his arm, that it looks like he's becoming Mr.
Sticks.
John wants more with Sam.
So that's the big thing.
Maybe where his fingers are, you can have branches shooting off of it.
I'm feeling a little overwhelmed because it's a lot of changes, but the camera test is really helpful because it makes what changes we need to make very apparent.
All right, so you guys did a great job today.
Next time I see you though, will be on set.
- Hard core.
- All right.
Okay, so we're all there.
Get out of here.
Give me a hug and get out of here.
All right.
Thank you, guys.
I really want to win "Face Off," but what I presented to John was not great.
So I need to step it up and really bring my A game.
So the first thing is Robert and I will be attacking the paint job on the demon makeup and Mel needs to tie up loose ends with the possessed makeup.
This got too muddy.
It's my fault, but it got bad.
I put some alcohol on a sponge, and I'm just trying to get back some of that red tone and it's pulling up my edges and bunching them because of all the alcohol and cream makeups.
It's just a big, muddy mess.
Gonna make you not look dead.
I am bouncing back and forth from dry brushing to airbrushing while Robert is laying foliage all over the demon makeup.
I don't want to see a hand with fingernails, so I just moss all over it.
I'm mossing all out.
Mel and Robert are bringing elements to my makeup that I would've never had by myself and I'm extremely grateful for it.
15 minutes! Hey, guys, time is up.
You're needed on set.
Time's up, brushes are down, and I feel so confident.
This is by far the coolest thing I've done, and I'm extremely proud of the teammates that I have.
This is finale-worthy, I think.
Looking awesome.
I love my makeups, but I'm nervous because only Ryan's opinion really matters at the camera test.
$100,000 is on the line.
This is so crazy.
I hope that he likes it because I definitely don't want to start over.
I love my makeups, but $100,000 is on the line.
And only Ryan's opinion really matters.
- What's up, guys? - Hey.
Whoo! Hello.
Oh, my God.
Ah! You guys have been killing it.
This looks awesome.
Let's put some lights on it, see how it looks.
Ryan seems like he's overwhelmed with excitement, but now I'm gonna have to see these makeups in front of the camera, so I really hope he's gonna be pleased with it.
Let's do it.
All right, cool.
Action.
Terrence, can I see what it looks like when you look around the room more, like you've just come up and you're sort of taking in the space? Lean in real close.
Man, he's awesome.
It's absolutely wonderful seeing my makeup on film.
Under the light, hearing Ryan tell him exactly what to do, such a cool experience, man.
I loved being on set.
Cut.
That's great.
I don't have a lot of notes, guys.
It looks really good.
Yeah? Yeah, I'm really, really happy with it.
The only thing I would say is the vines, those are just temp, right? So those are just so that you see - Got ya.
- We're gonna do that there, and then gonna want to wrap him with more vines.
- Uh-huh, uh-huh.
- And they'll be painted.
- Yeah, and they'll be painted.
- You are awesome.
Good job, man.
Let me check on lighting.
Here, one second.
The one thing I'm seeing is his nose.
This little shine coming out here.
That makes it almost look like a pixie nose.
- I got ya.
- Right there.
That's where light's bouncing out of, - and this little spot right here.
- Mm-hmm.
Those two little spots are gonna be headlights.
The changes are minimal, and it's such a good feeling knowing that my director is happy with the demon.
I just hope he feels the same about the possession makeup.
- Let's do it.
- Yeah.
My lady.
[laughs.]
Yeah, that's good.
That's pretty creepy, guys.
We'll shoot it.
Here we go.
Let's go camera, please.
Action.
Megan, can you, like, sort of grab at his shoulders, you know, almost like like you're trying to pull yourself up to him? [dramatic music.]
All right, cut.
Okay, final powwow.
Is there a way that we can take down some of the intensity of this area? Oh, yeah, I can cut this down so that is shows her face more.
Yeah, I think it would be nice to see, like, maybe more of her.
Ryan's only notes on the possessed makeup is that he would like to scale it back a little, so that's actually good.
That's less work for us to do during the film shoot.
I love the makeup.
I can't wait to see what you guys do with it.
I don't I mean, it's already so good.
I don't know how you did it as fast as you did.
Even though the camera test went well, I still have a lot of work to do.
I want to win more than anything, and I got to step it up even more.
I just want bigger and better, so I'm just full speed ahead on this one.
We get to Last Looks and we have one more hour to make these makeups finale-worthy.
My sole attention needs to be on this demon.
These eye edges are not going down.
The cowl is so heavy it's pushing his face forward.
And it's keeping the appliance from sticking to his skin.
So the first thing I need to do is get those eye edges down.
Next time, we have to set the cowl back a little bit further so we can pull the face tighter.
Keep them closed for me.
I continue on with the possession makeup, putting oil in her hair and on her hands.
It should really give that creepy, oily look that Bryce wants.
Rob and I are drenching our character in oil.
We're throwing dust everywhere.
We've really got to make sure this guy looks like he's coming up from out of the ground.
- We got 15 minutes left.
- Okay.
Hey, guys, time is up.
You're needed on set.
I think they both look stunning.
You guys look so good.
It's ridiculous.
Ah! And I'm really excited to see how these really cool makeups are gonna look under realistic lighting and I'm excited to get the critiques that we need to make this an even better makeup.
Come on, guys.
To have a camera test is invaluable, and I think my makeups look really cool.
But at the same time, I am terrified to see how Bryce reacts.
It's a roller coaster of emotion.
- Hi! - There you are! Bring 'em in.
The sound stage is just unbelievable.
It feels like a real movie shoot.
So these guys are I'm just gonna stand over here 'cause they're terrifying me.
But let's see how they look on camera.
We're just gonna come right this way.
Action.
Just settle and hold there, and look straight down.
Yeah, like that.
It's so cool to see it in the monitor.
It is truly terrifying.
His eyes almost disappear.
We could probably pinpoint a little light there, so we get a little bit of reflection.
We do see there are eyes.
Give me that tilt up so we can see the whole body.
The hands could be more shovel-like.
- Okay.
- Exaggerated.
What's really designed for, like, digging out dirt.
I think it looks really good, but Bryce has some problems.
The color could be more pale, more crushed shell, white powder, 'cause I think it's gonna make that contrast just pop a little bit harder.
Okay.
Could you tilt your head down for us? Yeah, we just want to see the top of his head, Bruce.
We're looking at those horns right there.
It feels like it's all kind of starting at the same kind of place on the head.
Maybe some of 'em are starting further back on the head, like, back on, like, the kind of back of the skull there.
There's a lot of changes that he wants.
And that's not what I want to hear, because each change just adds more time that I have to keep sculpting.
- You wanted to change the nose? - Yeah.
- And the color.
- Color.
I'm starting to get a little worried.
If you guys find a way to embed natural elements from the location.
Bryce is adding a lot to to my list of to-dos.
Is there a way to make the ear hole more of a hole? This is my worst-case scenario.
Maybe if some of 'em are starting further back on the head, like, back of the skull there.
Bryce has a lot of new ideas for this demon.
If you guys find a way to embed natural elements from the location, that would be cool.
This is my worst-case scenario.
It means having to resculpt the cowl and the face piece.
So I trust you guys to do this.
I'm excited to see it.
I do think these ideas are really cool, but they're gonna create a lot more work.
Let's go ahead and get him out and let's get Kaya.
Let's look on the monitor and see what she looks like.
Okay, action.
[dramatic music.]
That looks really creepy.
Okay, let's cut.
Let's cut.
So here's what needs to happen.
So let's think about scaling it back.
It's too extreme.
'Cause I don't think she's turning into him.
I think that whatever this demonic spirit is, his effect is more of an unconscious thing that's not really manifesting physically as in extreme a way as it is right now.
So now Bryce is not happy with the possession makeup either.
I'm fighting the urge to pass out at this point.
What's your thoughts? - Is it all one piece? - It ends yeah, it ends here.
- It's a face? - Yeah.
So then you're going back to square one.
It's really hard to go into the camera test very confident and then be totally blindsided.
I want that to be a clean enough palette that that oil dripping really, like, pops.
This isn't a few touchups.
We have to redesign both faces from scratch, resculpt the demon cowl, and sculpt shoulder appliances.
Okay.
It's so much work, it's mind-boggling.
Good luck to you.
I want to win this competition so badly and this could blow my shot, so I am freaking out.