Face Off (2011) s11e05 Episode Script

1 McKenzie: Previously on Face Off All-Stars Each of your teams will be creating a beautiful snow queen inspired by a unique snow flake.
- Yes! - Whoa.
McKenzie: Emily and Tyler's snow queen brought them their first win.
But Cat and Niko fell short and were the second All-Star team sent home.
And in tonight's immunity challenge, the artists experiment with weird science.
Welcome to the laboratory.
It's alive! Uh, yeah, something else for this area.
I pretty much hate the face.
And that's kind of terrifying.
Are you sure you're making that big enough? This is most certainly a plaster disaster.
McKenzie: Find out what happens next.
This is Face Off All-Stars.
[cheering.]
[exciting music.]
- Oh, cool.
- Whoa! Yeah.
The lab is full of body parts, entomology bottles, and anthropology-style stuff, and that's what I collect.
I like oddities.
So I'm excited.
It's alive! This is what my room looks like.
What? Hey, guys.
all: Hi.
Welcome to the lab.
Or maybe more appropriately for today, the laboratory.
all: Yeah.
Now, as a reminder, no one will be going home this week, and the winning team will earn immunity, which means they're safe from elimination next week.
All right, let's get right into your challenge, which takes inspiration from the classic tale of "Dr.
Jekyll and Mr.
Hyde.
" In films like "The Fly" and "The Incredible Hulk," each of them features scientists engaging in exotic experiments that don't always turn out as planned.
- Nice.
- Oh.
Cool.
So in today's spotlight challenge, each team will choose one of these experiments gone wrong and use it to inspire two makeups-- a scientist who is in mid-transformation into a creature, and a fully transformed monster.
Ooh.
We have to do two characters, which sounds a little daunting.
But hey, we're All-Stars.
Okay, guys, so here is what you have to choose from.
Electrical shock, horticultural hybridization, medical augmentation, insect DNA splicing, chemical exposure, and radiation exposure.
Ooh.
Keaghlan and Melissa, you're up first.
Ew, look at it.
- Oh! - Pass one on me.
All right, go ahead and get to work.
Bye, guys.
Good luck.
Let's say he had, like, put an arm on himself, like, a big, like, beefy arm.
Scientist is super passionate about this - because he, himself-- - Is an amputee.
That's exactly where I was going with this.
Yes.
So Cig and I want to do this amputee who has grown a new arm in a test tube to make it better and stronger and faster than the arm that he lost.
The body rejects the marrow, but the artificially grown limb starts to take over.
Oh, I like that.
Our mid-transformation character is gonna have this runaway bone growth.
Once we get to our full monster, those shapes will be taking over his whole body.
Oh, it feels good to flex those creature muscles.
Yeah.
I think we should go the "Silent Hill" route, as in making it fucking scary.
Like, maybe, like the electric shock gives him strength.
We've got electrical shock.
I want something scary.
I want this to be an opportunity to do something that I'm not familiar with.
So the skin's coming off, and the metal's underneath? - Mm-hmm.
- Okay, gotcha.
So our mid-transformation scientist has injected himself with metals so he can become a superhuman.
That doesn't turn out the way he wants.
So our monster is a rusted-out giant superhuman whose body conducts electricity, and he is virtually indestructible.
That's cool.
I like that.
- He's a living conductor.
- Yeah.
I thought it would be cool to do space radiation.
When I think of radiation exposure, I think of "Grindhouse.
" So this could be a cool, fun challenge if we decide to go campy, hokey, and in-your-face.
What if he was holding-- he grabbed a meteorite and it burned through the suit.
It fused into him.
The mid-transformation character has been exposed to radiation from an asteroid shard.
Half of his body becomes blistered and deformed through infection.
I thought it might be interesting, like, one arm can go tentacle arm or Mm-hmm.
The fully transformed character is an amorphous blob.
It's just a lump of unhinged DNA and mutation.
I guess the thing we should get out today so we can run them twice are large blister molds.
Do you want me to get you a flat board? Sure.
Just in the interest of time, I think it's prudent that Adam and I run foam twice with the same mold.
So I start making five big boil blender pieces on a huge flat mold while Adam starts fabricating.
We've got this giant arm that needs to be made.
It's gonna be a lot of work.
But I'm not worried.
If there were ever a challenge where you go big, it's this one.
As long as Adam can come through in fabrication, I can sculpt most of what I need.
The thing we're having trouble pinpointing is what plant is he going to.
Gage and I are a little bit lost.
We want to make sure we capture some sort of plant in this monster, because that's part of what our prompt is.
Do you want to go Venus flytraps? - Let's just go with it.
- Cool.
We start talking about carnivorous plants.
So Gage and I decide that our scientist has spliced his genes with a Venus flytrap and ends up turning into a fully fledged monster.
I start sculpting the chest and the back while Gage is sculpting the face.
Hopefully it will all go well for us.
So we end up with insect DNA splicing, and our character is an entomologist who is trying to develop a serum to create supersoldiers utilizing bug DNA.
So for the mid-transformation makeup, he has injected himself, and so he's got little mandibles poking out from his chin and aspects of the bug's shell poking out.
Our full transformed monster is still a humanoid, but his internal organs liquefy and then burst out of his skin.
It's really gross.
Sculpting, sculpting.
Our concept is a rogue scientist who's inventing a human growth hormone that makes him bulk up at this tremendous rate and then eats away at his skin and makes his muscles collapse and cave in.
I start working on the cowl piece for the final transformation.
And Ben is working on the giant's arm and chest sculpt.
I'm gonna figure out what this collapse is gonna look like.
The spin I want to put on it is an '80s retro new wave, a little more colorful.
Hopefully the judges will appreciate what we're going for.
Oh, my God, I'm so excited.
I feel like Tyler on coffee.
[laughs.]
George and I said we're gonna do the faces first so we can get as much detail as we can.
Don't forget we're also doing an entire creature suit, so - Oh, I know.
- The more we add to that guy, the less we have time to make this guy look cool.
No, I think this is a somewhat subtle makeup.
Gotcha.
George starts sculpting the mid-transformation face, where bone is just starting to protrude from the skin, and I start sculpting the fully transformed face.
Bone is coming out of everywhere.
His skull is giant.
Like, this guy is not having a good day.
- I like it.
- You like it? Like, some of the spurs are teeth.
That's really cool.
I feel like I'm building my dream man.
Our full transformation character is gonna have this huge body suit.
So Emily and I decide to get this entire thing done today.
Like, bring this shit out.
We're bulking out the shoulders to really sell that this thing has been, like, jacked up from the exposure of the electric shock.
We are banging this thing out.
Gage and I are rolling right along with our sculptures.
But I take a look at what Gage is working on, and our face is not looking so hot.
- Gage? - Yeah.
Uh, yeah, something else for this area.
Gage is dropping the jaw, which was completely unexpected.
And now I pretty much hate the face.
- What do you want to do? - I don't know.
I just wanted to tell you before you got too far with it.
Rachael comes up, and she says she doesn't like it.
And, you know, those are hard words to hear.
Well, I'm not done, but when I get to a good stopping point, I'll have you look at it and see what you think then.
We need to fix this.
The sculpt right now is looking almost snake-like, but I don't think Gage can see it, and that's kind of terrifying.
What do you want to do? Just a human nose? No.
The sculpt right now is looking snake-like.
We need to fix this.
But I don't think Gage can see it.
Can I? Yeah, go ahead.
You want to sit behind me? Huh? No, I'm good.
So I take a minute, give my eyes a rest.
I just need to breathe and think about what she's saying, because Rachael may very well be right.
I just am not seeing it.
I flatten down the nose a little bit.
I think it helps make the mouth more of a reality.
What about that? Yeah, I'm okay with that.
I'm not really excited by what we decide on, but Gage seems to like it okay, so let's just go with it.
Hi, everybody.
all: Hello.
So what is your experiment? We got chemical exposure.
That's a good one.
Airbrush will really help out.
Hit just very quickly, boom, boom, boom, boom, boom.
Make this flesh look like it's even standing more out and giving that more depth to it.
both: Yeah.
We have insect DNA splicing.
Now, with your first stage, you're doing a partial face, right? - Yeah.
- Your little injection things, you know, make them read as opposed to just being little holes or something.
both: Yeah.
Good.
Whoa.
You've come a long way today.
The idea of the bone spurs, I think, is a good idea, popping through.
You might do a little bit more in here just to show that it's coming through.
'Cause this is a big jump from here to here.
- Gotcha.
- Yeah.
This is your face.
That's the beginning, yep.
We're thinking of doing one section of the face be part of a cowl.
Right, on your face over here, take it back ten steps.
So it's going to morph into this.
- Exactly.
- Good-bye, everybody! all: Bye! It's about three hours until the end of the day.
So we have to get this in the mold room.
I think we'll be good.
Just got to make sure it's layered, and we're good.
Yes.
So while the mold is setting, I start blocking out forms for the full transformation character's face.
Demetrius has a very distinct face, and I don't want to change it too much.
I bulk out the forehead.
I'm just making a partial prosthetic.
Ooh, I like that right there.
Thanks.
- Not too big? - Not too big.
Let's go.
Oh, my God.
We want our fully transformed creature to have this large arm with these bone shards jutting out of it that he can barely manage.
This thing has to be comfortable on the model, and it has to hold up on stage.
So I'm making it out of buckets, cotton batting, and then I'm wrapping that in foam.
This will make it hollow, so it'll look larger, but is extremely light.
I'm having some issues engineering the shoulder and the bicep piece.
So I ultimately decide to just scrap that.
'Cause I think it's better to focus on the forearm.
The last giant arm I made on the show, I went home for.
So I'm here to redeem myself on the giant arm front.
Are you sure you're making that big enough? It's the special effects equivalent of owning a Hummer.
I think I'm good.
You know what I think I'm gonna do? Since I'm not gonna finish this today anyway, is I think I'm gonna start on the face just so I can sculpt them together.
I put aside the cowl, and I start to sculpt on the fully transformed monster face, and I want to do that at the same time so I can make sure that they match up evenly and look like they're part of the same creature.
I am pulling from cockroaches and beetles with really crazy shells.
My concern right now is that he's reading a little too alien, so I want to push that bug aspect, and I think the antenna are really gonna put me over the edge there.
What do you think about that? Cool.
I start on the cowl for our fully transformed character.
This is a daunting task, because this is the biggest character I've ever done on a competition.
Whatcha doing, Logan? Just a clay press-out.
I get started on a clay press-out of the mid-transformation model's face.
I want to show that our character is transitioning into this blobular mess.
Just because it's gross doesn't mean it can be formless.
It helps me stay sane in that it actually has some basis in anatomy.
Five minutes.
Oh.
[rock music.]
Yeah.
As soon as we get into the lab, we start sculpting on our monster torso.
We have to, 'cause there's so much to do and not a lot of time to do it.
I'm focusing on the spine and the shoulder blades and the bones on the back of our monster, and Cig's focusing on the ribcage and the sternum and the collarbones.
It's coming together pretty cool.
I love a little abnormal cranium growth.
When this is all done, I'll open it and clean it Okay.
So you can start sculpting right after this.
Sweet.
My happy place is sculpting.
So while Evan is molding, I go straight into sculpting the face for our complete transformation.
He's got, like, really strong features.
His lips have blown up, and some of the skin is sagging, signifying how his muscles have atrophied.
Simultaneously, I'm sculpting our mid-transformation face to make sure that they both have similar features.
I don't want to go too heavy with it, but I also don't want to go too subtle.
I'm just trying to ride that balance.
The mid-transformation is coming along really well.
I start putting in some boiled texture, more like it's turning as opposed to just ripping out of the skin.
- I like it.
- Thanks, boo.
I am making an aesthetic choice that may not make the most sense, but damn, it just looks cool.
I'm making a bug suit.
Nice.
Melissa's finishing up on our molds, and I start to fabricate our thorax.
I make a pattern on L200 for the armor plating and form it to our mannequin body.
And then I paint it based off of a beetle with mahoganies and browns and cream.
I'm really excited about the direction our character is taking.
Bug's in a half shell.
Cockroach power.
I'm gonna push this towards you.
Yep.
It's time to open the mold, and the front half comes right off.
Wow, big man.
Now we just have to get the core out of the back half of the mold.
- Ready? - Mm-hmm.
- Mm.
- It's not budging.
I'm just gonna yank it.
[grunts.]
I'm pulling with everything I got.
George looks like a plum, he's so red.
But it's still not coming out.
It's probably locked somewhere.
This is most certainly a plaster disaster.
One, two, three.
Yeah.
Nope, we broke.
This is the most important part of our creature.
We have to get this mold out.
There's no other option.
Three - Okay.
- Stop.
One, two, three.
[grunts.]
Nope, we broke.
We have to get this mold out.
But it's just not budging.
This stuff is here.
It's here.
It's here.
We realize that it is locked in the shoulders.
Start chiseling.
And we have no other option but to chisel away.
- Evan, hit this.
- Yep, just break it.
Watch your eyeballs.
It's coming.
I can see it.
- Yeah! - Yeah! It's alive! Thank God it eventually pops out.
But we had to chisel out a huge chunk, so the positive might not sit correctly, and it might screw up our whole body.
But we got it out, and we just got to be happy with that.
Let's not do that again.
No.
I feel like I'm in heaven right now.
Tyler is molding the faces, so now, it's time to pre-paint the suit.
I want to incorporate metal parts into him and his skin growing over.
So I first enhance all the wrinkles, and then I paint the metal that will be the rusty spots, and then I just start layering it with veins and highlights.
And I cannot wait to see this character come to life.
- I'm excited.
- It's awesome.
We have so much to do on application day.
I want to pre-paint this whole transformation arm now.
I'm gonna airbrush that thing today.
Good.
After I put a pink spray paint coat down to give it that fleshy undertone, I go in with raisins and shadower and bring out all the blisters.
And then Logan goes behind me with a pus-y color to bring out the boils.
It's looking pretty cool.
Ten minutes, everybody.
That's time, everybody.
[groans.]
- Yeah! - Yeah! Whoo! - Front looks really good.
- Oh, the back looks awesome.
That just looks great.
There's gonna be a lot of application.
- What's up, buddy? - How's it going, man? - Good to see you, man.
- Good to see you.
This is gonna be on you.
It's a little hectic, because we have two characters to do in the same amount of time as we would have one.
So I will be applying everything while Emily paints.
Wow, that's really good.
That giant body suit fits him so well, and things are going very smoothly, and it's exciting.
And I'm gonna powder him, and he's ready.
All right.
We're doing pretty quick on this application, man.
I know.
Don't jinx it.
So I start painting our mid-transformation character to match his skin tone.
And I get his face prosthetic perfectly blended.
It's blended so well, that it doesn't look like he has a prosthetic on, which is a great thing.
But at the same time, it's so subtle.
So I'm a little bit worried about it.
Dude, you can't even tell he's wearing a prosthetic.
I hope that's a good thing.
I mean, we've got two hours left.
We're halfway through application.
We've done no paint.
George is getting a little worried that we're taking too long, and there's a possibility that we went too big.
There are so many pieces to put down.
We definitely got to get Hoyt done before we get out of here so you just focus on Geoffrey for all of the last looks.
It's an insane amount of work we have to do.
I don't even know how we're gonna pull all this off.
Do you want to apply his other arm piece, and I can start painting.
Yep.
You keep doing that.
I'm gonna jump over and start painting him.
That cool? 'Cause that's what I'm gonna be doing.
- Yeah, yeah.
- All right.
Because we are incorporating elements of two deadly flowers, we want it to be more floral.
So we're gonna add more purples and lavenders and pinks.
We're really trying to go different with this one.
We're getting there.
It's very purple.
Yeah, I know.
Hold your breath.
So our mid-transformation paint scheme is gonna be the model's skin, which is undergoing a trauma of erupting bug parts.
So I start by just basing out some colors that'll try and match the model's skin, but it looks so flat.
So I'm trying to bring it up with a blue color to match it up with our fully transformed monster.
But I'm concerned, 'cause it's reading as overpainted.
So I'm a little frustrated.
Infected areas just look really-- they blend in too much.
Turn towards me.
After about three hours, I'm able to spend my time on the paint job on the complete transformation character.
I'm trying to balance the flesh tones with the sores, so I'm using a combination of reddish yellows, some greens, and then there's a lot of black rotting.
For the amount that I'm having to cover, it looks pretty good.
Close your eyes.
Oh, sorry.
Can you put your left hand in a-- Your big hand, I'm sorry.
Right here? He's got some exposed areas.
Because I nixed the shoulder and forearm piece for our original monster, there's a gap between the forearm and our model's arm.
It's something we have to address in last looks.
It's gonna be down and dirty, but thank God we're making an abomination.
30 minutes, guys! All right, guys, that's time! Okay.
I tried.
Boom.
We need to finish painting all the bones on the monster, the wounds around the bones, and a couple adjusting things to do with the skin tone.
One hour is not enough time, but it has to be enough, 'cause if we don't get it done, we're gonna be screwed.
Oh, my God.
Holy fuck.
- Can you check his face? - Yeah, I'm looking at it now.
We get to last looks, and I notice that our full transformation's chin is just flaking off.
I have to spend time repairing that, but the lighting in here is way different than the lab.
I hope the color matches, but at a point, I just have to let it go.
- How's it going, Adam? - Good.
I am wrapping the exposed areas on our fully transformed character with cotton batting and then putting fabric that echoes the actual space suit over it.
Hopefully this'll make everything look like it's been addressed head-to-toe.
We want to make sure that every inch of him is covered, so I throw lots of goop and blood and gross bits everywhere.
- Is it good and goopy? - Oh, yeah.
We're gonna have to bloody that, though.
Get blood.
Get blood.
There's still a lot of these bone spurs that need to have blood around them.
That's usually a long process, but not in last looks.
I'm slapping blood at it just to get it done.
15 minutes! It's time! The final transformation looks kind of fake.
It's definitely not my favorite makeup, and I am just worried that we didn't do enough.
Ugh.
Shit.
Welcome to the Face Off reveal stage.
Now, just as a reminder, tonight's top team will win immunity and be safe from elimination - in next week's spotlight challenge.
- Yes.
All right, why don't we say hello to our incredibly talented series judges.
Owner of Alchemy Studios, Glenn Hetrick.
Good evening.
all: Hey, Glenn.
Oscar and Emmy award-winning makeup artist, Ve Neill.
Hi, everyone.
all: Hi, Ve.
Creature and concept designer, Neville Page.
Hello, guys.
all: Hi, Neville.
And as you can see, we have a very special guest judge joining us tonight.
He is a legendary writer, producer, and director whose work includes such classics as "Animal House," Michael Jackson's "Thriller," and of course, "An American Werewolf in London.
" Please give a very warm welcome to Mr.
John Landis.
[cheers and applause.]
I love your films.
John Landis is in my top three favorite directors.
I wouldn't have gone in to special effects if it hadn't been for him.
And now he's about to judge my work.
It makes me nervous, but I'm also pretty excited.
Thank you.
John, thank you so much for joining us tonight.
I'm very excited to be with Oscar and Emmy-winning Ve Neill.
Well, I knew her when she was just Ve.
[laughter.]
Like Madonna.
She was running around Rick Baker's shop.
Garage is what it was.
She was like that big.
[laughter.]
John, you ready to see some makeups? Do I have a choice? - [laughter.]
- No, you don't.
So yes, I am.
I'm very excited.
All right, let's see what you've come up with.
I'm having a hard time telling what's a sore and what's his natural skin, so I'm getting a little concerned that we're not in as good a place as we thought we might have been.
It looks like a "Grindhouse" monster you'd see in a low-budget movie.
I think Logan and I hit our mark.
I just hope the judges like it.
I just don't know what to think.
Ours is one of the more unique ones, but perhaps not in the intentional good way.
I love it.
I know Emily loves it.
So I hope we knocked it out of the park this challenge because we're both feeling really confident.
They actually look really cool.
They look like they transformed into one another.
So I'm really proud that we were able to pull all of that off.
They look like they come from the same world, and I love that.
The only thing I'm not happy about is the paint job on the main monster.
Okay, judges, go ahead and take a closer look at these monstrous characters.
Edges are really rough up-close.
I think the entire prosthetic on his face doesn't do much.
Doesn't seem like they ever landed on an idea as to what is happening from the exposure.
Well, they covered a lot of ground.
I got to give them that.
I'm trying to figure out how the chemical from the IV forced glasses like that.
This is cool, all here.
I like the fact that they put the start of one of the claws.
I like it.
It kind of reminds me of someone from "Pirates of the Caribbean.
" I just wish this was a crab claw, 'cause I'm getting hungry.
[chuckles.]
I like how shiny he is.
It reminds me of those "Lost in Space" Irwin Allen monsters.
This looks really great, how his face is slid over.
It's neat.
It's unfortunate that his skin is on top of his hair.
Yeah, this transition's really messy.
I don't know why they didn't handle that with a little bit more caution.
It's definitely insect splicing, and that's evident from our makeup.
But I think Keaghlan and I overpainted, so I'm very concerned.
It looks like someone sneezed on him.
I want to win the immunity, but we're going up against so many amazing creatures.
It doesn't look good for us.
All right, guys, it's time to get on Twitter and tell us which team made your favorite monstrous character using #FaceOff This transition's really messy.
Even though I think our character's overpainted, I'm hoping the judges will see all the positives and forgive the negatives.
I actually like the bursting through with the spines.
Squish your forehead, angry face.
Oh, yeah.
Moves pretty well.
The red, white, and blue paint job, it's something you never do.
It looks like a flag.
I love this guy.
He looks like a mad scientist.
The colors are really nice as they transition from one to another.
He really looks fried.
Yeah.
Well, I didn't realize this is fused.
- I love that.
- It's a beautiful paint job.
Gorgeous.
It's so well-sculpted.
I like his hair.
I bet you do.
[laughter.]
There's some interesting stuff going on, but I don't understand what I'm looking at.
It's Halloween-y.
There's something very, very successful about the elongated and blown-out skull.
I also like the way his teeth are kind of, like, exploding.
This would've been a lot more successful if they could've done a little bit more hand painting.
This looks like one of those '50s mutant guys.
Not so sure how all these teeth and things plays into the horticulture.
I really like it, but I don't know if it addresses the challenge.
Thank you.
Okay, the judges have scored your creations.
So let's find out what they thought.
Emily and Tyler, Melissa and Keaghlan, Ben and Evan, Logan and Adam, you're the best and the worst this week, and the judges would like to speak with you about your work.
So that means the rest of you are safe and can head back to the makeup room.
Melissa and Keaghlan, you're up first.
Hi, guys.
- Hi.
- Hello.
Tell me about your back story and how you wanted these creatures to work with one another.
Dr.
Edgar Kafka is trying to create more resilient soldiers, so he starts isolating bug DNA, and he creates a serum, and he tries it on himself.
The color palette is very problematic for me.
Okay.
Why did you choose those colors? There was a reference that I found of a beetle that was brown, black, and blue.
When you find a piece of reference, don't follow it so specifically that it doesn't suit your needs for the makeup overall.
Okay, all right.
From a distance, there is no focus on your full transformation character.
You put so much color, you don't really see the makeup.
It's just a little too muddy.
Okay.
I personally like the fact you used that turquoise color, especially coming out of his cheek like that, looks amazing.
Thank you.
Melissa and Keaghlan, please step back.
Thank you.
Emily and Tyler, please step up.
Hi, Emily and Tyler.
- Hello.
- Hey.
Would you please tell us about your electrical shock transformation characters? So our scientist is experimenting with electroshock therapy, so he becomes, like, a organic conductor of electricity.
- You did a really great job.
- Thank you.
The transformation between the two of these characters is so beautifully handled.
I love the color palette, and your full transformation guy looks spectacular.
both: Thank you.
It's such a subtle design.
However, you handled it so well in both sculpture and paint that it doesn't matter.
both: Thank you.
One of the things I reacted to right away is the overall unity of it.
It's beautifully painted.
This works at a distance and close up.
As a filmmaker, that's, like, great.
- Thank you.
- Thank you.
Emily and Tyler, please step back.
- Thanks.
- Thank you.
- Good job.
- Good job.
Evan and Ben.
- Hey, Ben, Evan.
- Hello.
So tell us about your chemical exposure transformation.
Our doctor here was developing a serum to increase muscle growth.
The result was his muscles expanded way too fast and created these sores all around him.
The overall paint job is not selling it.
Yeah.
Aaron's got an incredible physique, and sculpting an additional pec and deltoid and hiding his doesn't show the physical mass change.
And the head on your final transformation - feels a little clunky.
- Okay.
The uninspired nebulous forms don't convey what it is you were trying to say.
It's begging for some big semitranslucent boils and bubbles and stuff around the edges.
The coloration on this makeup is really lacking, especially in the facial area.
You've got a lot of problems.
Evan and Ben, please step back.
Thank you, guys.
Logan and Adam, please step forward.
Hi, Adam and Logan.
- Hi.
- Hello.
Tell me about your concept.
This is an astronaut scientist on the moon station Brometheus.
They think they're protected, but it's space radiation, so it not only burns you and gives you boils, but it's also deconstructing their DNA into God-knows-what.
Well, I really like this.
I like the before better because it's more subtle.
His monster claw is a little too big for me.
But I actually think he's creepy, and I think it's great.
both: Thank you.
I definitely like the way that you've decided to go in your own very unique direction.
The oversized asymmetry feels very contemporary.
And I'm amazed that you got the level of detail.
both: Thank you.
I think one of the smartest decisions that you made is to be specific about a genre that is tongue-in-cheek.
Because of that, it gives you this tremendous latitude to push the envelope.
I think it's great.
Logan and Adam, please step back.
both: Thanks.
All right, thank you, guys.
If you'd please head back to the makeup room while the judges deliberate.
- Thanks.
- Thank you, guys.
All right, judges, let's talk about your favorites tonight.
How about Emily and Tyler? I love the way that they allowed the conceptual approach to drive their decision-making with all the colors.
The colors, obviously, were the success of this makeup.
It was blended.
It was beautiful.
They looked like they stepped out of a painting.
There was a tremendous amount of expert form in the body.
That chest piece was so well-crafted.
The first guy never broke character, and he was doing a real Dwight Frye.
I thought the work was excellent.
All right, let's move on to Logan and Adam.
It was very creative and very reminiscent of anime.
I love that.
That makes it feel kinetic.
Lots of great decision-making and massive amount of work from this team this week.
I love the fact that they hid the face in the side of the head there.
Just a little nice surprise when you get up close.
That's great.
That second guy looked like Irwin Allen in "Lost in Space.
" But better done.
I really liked it.
Let's move on to the looks that didn't come together this week.
Why don't we start with Melissa and Keaghlan? It was a decent design, but it was buried in disorder.
It was a huge letdown.
They needed to create some translucency so it felt like bug shells.
From a distance, it was just brown and muddy.
And you see these bright blue and white stripes.
There was just no place to focus on.
I totally agree with you.
But I like that turquoise coming through his skin, and I like carrying it through the insect.
All right, let's move on to Ben and Evan.
The paint job was atrocious.
It was flat.
There was no translucency to the skin.
I don't think that they ever honed in on their concept.
Both of these guys are extraordinarily talented.
That was a pathetic showing.
It lacked any sense of kinetic transformation.
That's what drove me crazy was the first guy.
He was, like, built.
But then the big guy wasn't big.
It was weird.
All right, judges, have you chosen tonight's winner? Yeah.
Let's bring them back out.
Welcome back, guys.
All right, Glenn, tell us about the top teams.
Emily and Tyler, the super conductor concept was a great conduit for your character.
We also thought that you used your color beautifully throughout.
Logan and Adam, we appreciate the humorous approach that you took this week, and there was some really nice highlights and shadows in your paint job.
Okay, which team came out on top? The winning team is McKenzie: The winner of Face Off All-Stars will receive a VIP trip from Kryolan Professional Make-Up to one of their 85 international locations, a brand-new Hyundai Veloster, and $100,000.
Okay, which team came out on top? The winning team is Emily and Tyler.
[clapping.]
You guys made really smart choices in terms of your time management, and that enabled you to show us a clean, beautiful makeup.
Keep up the good work, guys.
both: Thank you.
We won! - Again! - I am so happy.
This makeup is not what I typically do, and so to win this one and win immunity, I feel like we're in a really good place.
We're on a roll.
Emily and Tyler, congratulations.
As the winners of tonight's challenge, your team has won immunity in next week's spotlight challenge.
Great work this week, everyone.
And John, thank you again for joining us.
Thank you for having me.
[applause.]
All right, guys, why don't you all go home and get some rest, because you're going to need it.
Good night.
See you soon.
- Thanks, guys.
- Thank you, guys.
Our bottom looks have been rock bottom, so that's scary.
But we know that there's nowhere else to go but up.
Hopefully.