Face Off (2011) s11e07 Episode Script

1 .
McKenzie: Previously on "Face Off: All-Stars" Each team will choose one of these post-apocalyptic vehicles and create the wasteland warrior that drives it.
George and Cig's wasteland warrior drove them to victory, but for the bottom looks, the challenge was just beginning.
You guys are getting another hour of Last Looks.
Holy [bleep.]
.
- I didn't see this coming.
- This is a huge opportunity, so don't waste it.
[exciting music.]
I'm pulling off the makeup on the face.
That looks great.
I'm hoping that we have done enough to stay in this competition.
I think we hit as many of the notes as we possibly could.
Find out what happens next.
This is "Face Off: All-Stars.
" [cheers and applause.]
[dramatic music.]
Okay, judges.
Why don't you go see how well these artists managed to take your notes? This is definitely out of our hands now.
We tried adding tattoos, removing the headpiece entirely, and making the eyepiece pop more.
I think we hit as many of the notes as we possibly could, so I hope they notice everything.
Big difference.
You can see the makeup now.
Bringing it up on the face is wonderful.
Just being able to see the face is great.
I'm not sure this is where this one goes.
This could've gone to the back of the head to create an interesting shape.
I didn't even know what this was when she came out.
I thought it was, like, a big, giant heart.
- Mm-hmm.
- They still did not actually paint those correctly.
But overall, huge improvement, and they really took a lot of the specific notes and incorporated them.
And it is better.
We're hoping that the judges see that we tried to eradicate what they didn't like, taking the cage out of the chest, working on the face and trying to cover up the chest piece.
So I'm hoping it reads like we've put a lot of thought into this character.
Well, I like not seeing this as much.
It's like it's hidden.
It's a little more intriguing.
Yeah.
At least we're looking at it, going, "What is this thing?" You know? So if we uncover it, it's like, "Oh, wow.
" Are these additional yeah, these are new scars that are taking place in the tissue.
Yeah.
They weren't there before.
Laying some patterned graphics onto his face helped take it to a higher level, but taking the grate and sticking it on the top of his head, that's a big misstep.
The judges' notes were dead-on, and she looks a lot better with the smudged makeup, with the dirty hair, the no bone.
So I'm grateful that we had this chance to re-show them that we are listening.
The eye makeup looks so much nicer.
It makes her look even tougher.
- Yeah.
- You know, and this now is creepier, because it's no longer a gold bone sticking out.
It just feels more real.
They also address the palette problems, where there's not as much pink showing through.
There's the darker reds that you were looking for.
Thank you.
Okay, the judges have scored your wasteland warriors.
Okay, Glenn, which team is going home tonight? The team that is going home tonight is Gage and Rachael.
We do appreciate how you addressed the notes that we gave you, but it ultimately just was not enough to elevate you above the other two teams this evening.
Gage and Rachael, I'm sorry, but you have been eliminated.
The rest of you are safe and can head back to the makeup room.
Good job tonight, you guys.
Good job.
It's our first time on the bottom, and we're being sent home, which is a statement towards how ruthless this season is.
You just can't have a bad day.
Yeah.
Hold your head high.
This is All-Star season.
The competition is crazy difficult.
You guys did a great job, and I'm very glad I got to see your work again.
Thank you.
It's been really fun.
It's been an honor to be up here in front of you guys again.
It's been so great having you both with us again.
Thank you.
But please head back to the makeup room and pack up your kits.
- No, not before I - I know, come here.
We shared our time here with some truly talented human beings.
And the only words I have for that is honored and humbled.
Thank you guys.
Thank you guys.
- Thank you both.
- Thank you.
Good luck.
I'm disappointed with where we got, but I'm not disappointed in us, because we worked our butts off.
We're going home.
You guys are? - Yeah, it's us.
- Oh, really? I feel Rachael and I both had so much more to offer, and I feel like we were just finding our groove.
Coming back was a very big privilege to be here with you guys.
I'm super glad I was partnered with you.
Me too.
I would not have wanted to be here with anybody else.
Working with Rachael's been a blessing.
I don't think I would want to do this with anybody else.
We're a partnership forged in fake blood, sweat and tears, and I think we can be nothing but proud.
[rock music.]
Rachael and Gage go home, and it really sucks.
But that's the nature of the beast, and now it's time to get back to business.
- Oh.
- Ooh.
- New toys.
- Oh, that's cool.
We walk into the lab, and I see hammers and clamps.
"I'm like," Great, what are we gonna make with all this stuff?" Hey, guys.
All: Hi.
- Welcome to my new workshop.
- Looks great.
- Beautiful.
- Pretty rad.
- Pretty cool, right? - Yeah.
In the book, "The Adventures of Pinocchio," a woodcarver named Geppetto uses just a little bit of magic to breathe life into an inanimate object, not unlike what you guys do on a regular basis.
But what if Geppetto had been a blacksmith or a stonemason? The Pinocchio that we all know and love might've looked entirely different.
So for this week's Spotlight Challenge, each team will choose one of these trades and use its raw material as inspiration for their own magical puppet or marionette character.
I have been waiting for this challenge.
It's an opportunity to do a whimsical character without it being over-the-top whimsical.
So I'm really excited about it.
All right, the trades you have to choose from are stonemason, goldsmith, tanner, tailor, and blacksmith.
So Keaghlan and Melissa, you're up first.
Blacksmith.
Gold.
As a reminder, no one will be going home this week, and the winning team will receive immunity in next week's Spotlight Challenge.
But you will only have two days to create your characters.
These two-day challenges are tough.
We only have one day in the lab and one day in application.
So we need to move like lightning.
- Good luck.
- Thank you.
Bye.
[techno music.]
Having a puppet challenge, it's really cool.
I love puppets.
I've worked with marionettes and rod puppets from when I was 19.
The first puppeteer that I worked with was Dave Barclay, who was assistant puppeteer on Yoda and lead puppeteer on Jabba the Hutt.
I have ideas in my head already.
When I think leather stuff, I think, like Like, a cowboy.
Instantly, I got super excited, because the Midwestern in me comes out any time you mention country and western.
What about, like, a rodeo clown? Rodeo clown? Yeah.
We really want to go, like, really silly and fun.
We want to make his face look like it was stitched together, and incorporate cowboy boots and big horns on a hat.
They make him because they're tired of losing all their rodeo clowns, so I like it.
Logan and I sit down and start designing, and I'm already intimidated.
Because when I was eliminated from my season, it was on a doll challenge that took place in a marionette theater.
So right away, I'm just like, "Don't go down the path I did before.
" I just want to make something funny.
Do you think it'd be cool to go ironic with this character? The trade Logan and I select is stonemasonry.
If he's, like, made of stone? Stone? But he wants to be something that stone is the worst thing to go for.
- Like a little sailor.
- Yeah.
That's yeah, like a sailor.
Like a stone sailor.
He will sink.
We go with the funniest thing that comes to us, which is a stone puppet created by a guy who does countertops whose wife left him.
I have no idea how this is gonna play out on stage, but enthusiasm is half the battle on "Face Off.
" Logan and I are enthusiastic about this, so we're hoping that'll come through.
Let's see, we got railroad ties and forged nails.
Melissa and I choose blacksmith, and I'm really excited, because my dad's a welder.
So I know a lot about how metal works.
I'm thinking, like, the toy robots.
Yeah.
Our character is a blacksmith's apprentice.
A blacksmith builds him from different scraps, and so we want him to feel like he's pieced together.
I'm gonna be sculpting a facepiece while Melissa's gonna be working on a suit of armor, basically.
It's a different take on the puppet, but I'm hoping that we're taking a risk in a good way.
Emily starts the face while I begin creating her bodice.
Emily and I are very happy.
We were able to get tailor for our puppet maker.
We're doing a marionette ballerina that the tailor made to dance forever for his entertainment.
Over time, she's breaking down.
The seams are coming undone.
She's getting dirty.
Her cotton is starting to deteriorate.
So all those really cool elements, we really want to bring into the character the best way that we can.
I'm excited about this character.
Yeah, I think she's gonna be really pretty.
Hmm.
Evan and I chose the goldsmith, but we're feeling pretty uninspired.
I don't know.
We're just Just not feeling it.
Um I'm just frustrated that we don't have a concept, and we only have one day.
I'm just like, "Snap out of it.
This is terrible.
" You guys are way better than this.
" But it just feels like a lost cause.
Ugh, man, this challenge.
.
Ugh, man, this challenge.
I don't know.
We're not feeling very confident at all.
Hmm.
Having been on the bottom so many times definitely makes you second-guess your every move.
Ballerina? Eventually, we just decide that the goldsmith's daughter, who was a ballerina, passed away.
So he creates this doll in her memory.
It's so simple.
Just got to execute well.
Yeah.
I'm disappointed that we don't have a more creative concept.
But we need to start sculpting.
Thank God it's not an elimination challenge.
I'm gonna go grab the gold leaf.
Okay.
[rock music.]
Adam is sculpting these stone appliances for the body while I start sculpting the face.
I need to make this face look like chiseled stone.
So I use a wire-cutting tool to get broader stroke edges.
Are you gonna go through and chisel it out a little bit? Mm-hmm.
I know it's a rule of thumb that you don't bake an expression on a character, but in this case, it's a marionette.
So I added this goofy smile that helps sell the wonkiness of the character, and I think it will pay off.
- I'm excited about this doll.
- Yeah.
While I'm sculpting our ballerina's face, Tyler's working on the joints for the doll.
- Something like that, right? - I love this.
And then I'm gonna go in and paint the wood texture all over the joints.
So this is the face so far.
I'm just, like, smoothing out forms.
Oh, that's pretty.
I'm softening our model's features, because if she was made out of fabric, she wouldn't have defined nostrils.
She wouldn't have defined lips.
She would be a lot more smooth.
If we were to make this practical, she would have lines all over the place, and I think that'll look scary.
Yeah.
So I think just the seam going down the center.
- Yeah.
- Cool.
[techno music.]
Since our goldsmith is creating a golden doll that he can pose, Ben and I sculpt these shoulder hinges, elbow hinges, and knee hinges, as well as the wing nuts.
And we sculpt them all flat, and we're just gonna fold them around the model's joints.
We're not doing a facepiece.
Instead, we're creating pieces for the hairline that'll be attached at the neck, to give the illusion that the head is a separate piece, like a ball joint.
I think going minimal is going to work in our favor.
We just have to make sure it's very well executed.
It's a ballerina that's made of gold.
Done.
Are you gonna do all this stuff on that side too? Yeah, I've just been putting it off 'cause it's the left side.
Symmetry's hard.
It's really important the face resembles leather, because the leather texture is really gonna sell this, and no cowboy stuff is complete without embroidery, so I go in and inlay each little stitch to create these really cool filigree patterns.
And I'm totally jazzed.
Hi, everybody.
All: Hi.
- Hi.
- Hello.
So what we wanted to do was create the apprentice - of our blacksmith.
- Okay.
You know what's kind of really important here? - Your paint job.
- Mm-hmm.
- Yes.
- This has to look like metal.
Would it be better to have a, like, patina Like a green patina? You know, the patina a little bit of green around a joint or something somewhere.
Not the whole thing.
So our idea is a ballerina out of gold.
It's an interesting challenge to restrict yourself to one color.
'Cause gold all by itself is gonna be flat.
- It's flat, yeah.
- Even to take a bronze-y color, you could hit maybe highlights to pop out a sheen.
Both: Yeah.
All right, what are you doing with the face now? We thought it'd be cool if he stitched his face like different pieces of leather.
You mean a multitude of small pieces? Both: Yeah.
- You don't want him to look like Frankenstein, you know? Patchwork.
Right, yeah.
Yeah, that's why we're going with the clean stitch.
Perfect.
Bye, everybody.
- All: Bye! - Good luck.
Thank you so much.
How's that working out for you? Good.
I'm gonna cut this one, around it.
Cool.
We're trying to go with kind of hokey, fun rodeo clown elements.
So I'm making these big, silly horns to put on the cowboy hat for our clown.
- He's gonna be real horny.
- Oh.
I get these big pieces of Styrofoam, and I carve them down and get a basic shape.
And then I'm airbrushing different patterns, and they look silly and ridiculous, and that's everything that we love.
- What are you doing? - I'm being too lazy to cut it.
- That's fair.
- [laughing.]
We want to build a full automaton, so I decide to fabricate this entire suit of armor.
It's a lot to pull off in a short amount of time.
So I'm just cutting out pieces of L200, holding them up to the mannequin, kind of seeing if it'll fit.
If I were at home, I would measure everything.
Here, it's like, "Cut it.
Does it fit?" No, it doesn't.
" I'm also trying to add in some special details in order to pique the judges' interest.
That's cute.
I love that.
30 minutes left! It's time! Start cleaning up.
It's the end of the lab day, and we're just wiped out.
- Everyone looks sad.
- A little morose.
Morose, I think that's a good way to put it.
Yeah.
You feel bad for the puppet.
George.
Tell us about yours? What is he? What did we just do all day? [all laughing.]
He's a rodeo clown puppet, and then during the intermission shows, he lets kids shoot at him.
All of the concepts are so sad, and it's depressing.
Yeah, that's our story.
A blacksmith built him to assist in the shop.
- So he kills the blacksmith? - The shop no.
We feel like crazy people.
How dark is yours? It's just a golden ballerina.
That's the darkest one.
[all laughing.]
It's time to go home.
These challenges are so exhausting, and everyone is ready to go home and start off fresh tomorrow.
[upbeat music.]
.
[rock music.]
- Yay! - Whoo-hoo! - Yeah.
- Yeah.
- Exclusive stuff.
- Oh, it looks good.
- Hi, guys.
- Good to meet you.
How are you? You're gonna be a ballerina.
Get over here, cowboy.
We got something for you.
If we're gonna win this challenge, we need to dominate today.
- That's awesome.
- We got the tanner, so it's all, like, leatherwork.
Oh, we got a little rip there.
We get our foam piece back, and we sculpted it really thin 'cause we wanted it to move well, but - Got a little patching to do.
- It's ripped all to hell.
I'm about to rassle some foam latex.
Luckily, we can glue it back together and patch certain areas, and you don't even notice that it was there.
In this competition, you have to roll with the punches.
Done gonna get to work.
[techno music.]
Before Emily and I can apply the face, we have to apply the entire bodysuit.
Do you need help? Yeah, just to kind of just figure it out.
We obviously can't stitch this to our model.
So the latex pieces actually get glued onto her to make it look like her skin underneath.
This is a really cool, inventive way to give the illusion that she could be stitched together.
Ooh, that feels nice.
You are one with the metal.
While I'm working on applying the facepiece, Melissa is painting the bodysuit.
She's got a lot of surface area to cover, and there's only so much time.
So that's my concern.
I just want to make sure that we deliver a really good, realistic paint job.
Here, I'll apply the color, and you wipe it away, okay? Adam and I are tag-teaming the paint job.
Since rock surfaces are flat, there's no real fine details that a wash is gonna bring out, so the paint job is very important.
I'm gonna to go over it with a lighter color.
Okay, I'm gonna start drying, marbleizing.
We're trying to keep it in the granite range, but in addition, I go through the brush and start drawing marbleization on the face.
I'm trying to bring out the features so it reads as a face.
Definitely looks like a face from a distance too.
Yeah, yeah.
Getting there.
Do you want to get a brush to do that? Maybe, I don't know, it'll go faster than a sponge.
We have all of our pieces applied.
So we get started painting gold all over it.
The problem is the blending issue going from very smooth hinge pieces to skin texture.
That's a challenge that we're facing.
[hair dryer whirring.]
I'm hoping that we find a creative way to make all of that work in our favor.
That's gonna bother me.
[upbeat music.]
There's no way a model's gonna be able to move with fabric glued all over their face.
So we have to make this foam look like fabric.
I feel like a fuzz would give it a fabric texture.
So I'm gonna try my best to come up with my own way of creating this fuzz.
I find moleskin, and I shave it, so I'm getting those fibers from it.
I think this could work, so I apply adhesive, and I stick this fuzz on, and then I brush it off with the chip brush.
I've never done it before, but I feel like it is so important to our character, it is worth the risk.
I'm just gonna hold it up really quick.
Tyler? She looks terrifying.
Really? - Do it.
- Oh, my I love it.
- That's like - Oh, my God.
[laughs.]
The paint job is gonna be crucial, because we really have to sell the fact that this guy is made of leather.
So I'm starting the dry brush, and the texture of the leather still isn't selling as well as I'd like it to.
It's really flat and one tone.
George has the idea to use a black alcohol color that's watered down, so that the black goes into the creases from the stitching that I put into the skull.
And now I'm starting to see leather.
It's looking really cool, and I feel immediately relieved.
Like, this totally looks like a couch from the '90s.
Mm-hmm.
[instrumental music.]
I'm actually really happy with where the paint job is going.
I've spent a long time laying in these fine rust marks, and then I've accented that with corrosion, and it really is starting to cease to look like L200.
And then I start working on the face, and when I'm doing that, Keaghlan starts painting over all my paint work.
[dramatic music.]
Oh, oh, my paint job.
Huh? - I'm dusting.
- I know.
- Dry brush.
- I know.
But that's all covered in soot.
It still doesn't look like metal, though.
I know, 'cause it'd be all covered in soot.
Keaghlan and I have very different approaches to painting metal.
So we are having an artistic difference of opinion.
And it just seems that she's obliterating hours' worth of my work, so I'm a little frustrated.
Once she's done, I decide to take our paint job back to where I had it originally, what appears to me to be more authentic.
15 minutes.
[rock music.]
Guys, it's time! I don't know if I did enough to save the paint job.
And I'm worried, going into Last Looks, because Keaghlan and I are just kind of both working in our own little worlds.
And as a team, we need to come together a little bit better.
[door slams shut.]
[dramatic music.]
Have a seat.
We get to the stage for Last Looks, and I want to focus on refining the paint job to make sure that everything reads as stone.
Hopefully we can pull it off.
We really need to get all the fabricated pieces put on our model.
Let's start with the gorget.
I designed all the armor so that it'd be really easy to apply.
Look up.
So everything Velcros on and Velcros together.
And then I added some LEDs to this back vent and eyes.
I just hope they notice the little things.
- What do you think? - Looks okay.
Looks okay? In Last Looks, we have to do the beauty makeup and try and paint this gold to look not flat, which is gonna be really hard.
Plus, you can totally tell where the appliances are.
We're kind of all over the place with this.
I don't think Last Looks is gonna save our makeup.
All right, I'm gonna paint her hand - while you do whatever.
- Yeah.
I really want the sense that the strings are barely holding together.
So I actually pull the cotton away to give the sense that it's busting out of the seams.
It's very tedious, but at the same time, it's totally worth it.
Can you bend it? Oh, good.
George, that's a no.
- That's a big no.
- That's a big no.
This whole time, we've been trying to make something silly, but this character looks nothing like what we envisioned in our head.
The arrow's kind of hokey now too.
God, I hate that shirt.
Now that we've made it, it looks like a really serious character.
No, it looks totally wrong on him.
None of this stuff is working.
We're thinking of scrapping it all.
Let's just change our whole concept in Last Looks.
This could be a major problem.
.
[dramatic music.]
That's a no.
[sighs.]
It looks totally wrong on him.
This character looks nothing like what we envisioned in our heads.
Let's just change our whole concept in Last Looks.
It's fine.
Sometimes you just have to know when something isn't gonna work.
So we scrap the hat and the leather moustache and the arrows.
Such a bummer.
Everything else looks cool.
I'm really hoping this is a good decision, because George and I just scrapped half of the stuff that we've made.
It's a risk, but hopefully it'll pay off.
- Everybody, that's time.
- Whoo.
Good evening, everyone.
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.
All right, let's say hello to our talented series judges.
Owner of Alchemy Studios, Glenn Hetrick.
- Good evening.
- Hello.
Good evening, Glenn.
Oscar- and Emmy-winning makeup artist, Ve Neill.
Good evening, everybody, and the weird guy on the end.
[laughter.]
Both: Ma'am.
And, of course, creature and concept designer, Neville Page.
- Hello.
- Hello.
And as you can see, we do have a very special guest judge joining us tonight.
She's an award-winning producer whose work includes "Memento," the "Austin Powers" trilogy, and Tim Burton's "Alice in Wonderland.
" Please give a very warm welcome to Suzanne Todd.
[applause.]
Thank you.
Thank you so much.
I'm so happy to be here.
Suzanne Todd's work is amazing.
And oh, my gosh, our marionette could totally fit in the world that she produces.
It's gonna be really interesting to see what she has to say.
Thank you so much for joining us tonight.
I'm really looking forward to seeing what you guys came up with.
- I'm so excited.
- Fantastic.
All right, guys, let's get to it.
For your Spotlight Challenge, we asked you to choose a unique trade and use the raw material associated with it to inspire a magical puppet or marionette character.
So without further ado, let's take a look at your magical creations.
[rock music.]
Our clown looks so cool.
Even from a distance, it looks like leather.
I'm so glad that we decided to not include some of the more silly elements.
And I hope the judges appreciate this makeup.
[eerie music.]
She looks pretty good.
I love the way the hinges look.
The edges aren't so great, but all in all, you can tell what it is, so hopefully the judges like it.
[whimsical music.]
It's definitely different from everybody else's.
Logan and I wanted to make something fun and goofy.
So, mission accomplished, and now all we can do is cross our fingers.
[dramatic music.]
I really hope the judges notice all the little fun tricks that we threw into it.
It's definitely looking like our character's pieced together, and I really love it.
[instrumental music.]
It looks so good.
I love our hidden details, like the sewing needle in her hair and the fuzz on her face.
So I feel like it could totally be one of my favorite makeups.
[dramatic music.]
Okay, judges.
Go ahead and take a closer look at these magical characters.
- It's fun.
- It is.
My absolutely favorite thing about this is the tiny little detail.
Yeah, the texturing on here, how they actually made it 3-D with the impression of the rivet going in.
The leatherwork on this latex is so good, it makes the real leather gloves look bad.
[all chuckling.]
The mask part is stomping on top of the hairline.
It doesn't make any sense.
Turn all the way around for us, please.
I love the 3-D nature of the joints.
It's very marionette, although the blending isn't very smooth.
I think the problem is, human skin has so much hair on it that the minute you start painting anything like this, it creates a texture so it won't come out smooth like this.
Yeah.
- Nice work.
- To work a gag in when you have so little time, that's pretty impressive.
I like it.
And those lightup elements, - which were beautiful.
- Yeah.
Turn all the way around.
Check this out.
It's a furnace, and it's lit up too.
Oh, yeah, you're right.
And this is cotton.
They put cotton in here, like stuffing.
And check this out.
They've essentially flocked her.
It's amazing.
Like the felt face of a marionette.
Thank you.
Okay, the judges have scored your creations and would like to speak with all of you before making their decisions.
So, Keaghlan and Melissa, you're up first.
Hello.
Both: Hi.
Tell me about the concept behind your blacksmith marionette.
Our blacksmith needed an assistant, so he fabricated from different scraps of materials he had laying around the shop.
I think that you have a very intelligent approach, conceptually.
It's allowed you to utilize fabrication to cover a massive amount of ground.
I just feel like there's something missing about the face.
But I love the concept.
Super, super cool approach, guys.
I think probably my favorite part is your fabrication.
The fact that you managed to put in some gags with that short amount of time is just phenomenal.
The little treatment with the smoke coming out, so clever and so cute.
Job well done, ladies.
- Thanks.
- Thank you.
I like the details.
I think it's very impressive that you pulled off the steam and the light on the front and the lights on the back.
I love the patina of the erosion of the metal.
I love the little details of how 3-D the rivets are.
There were a lot of nice touches to it.
- Thank you.
- Thank you.
Melissa and Keaghlan, please step back.
Thank you, Jordan.
You rocked.
All right, let's talk to Logan and Adam.
Adam and I have embraced the comedy of this challenge, which none of the other artists are doing.
So I'm starting to question the makeup.
Every single challenge on this season, we're held to a higher standard, so Adam and I could be a bottom look for going in the wrong direction.
All right, guys.
It's time to get on Twitter and tell us who made your favorite magical character tonight using FaceOff.
.
All right, let's talk to Logan and Adam.
[dramatic music.]
Hi, guys.
Both: Hi.
Tell me about your concept here.
Okay, so this guy, Joey Petto, his wife leaves him, so he wants to end it.
We're like, no, no, no, we know this guy, Bob Goldsmith.
He made this doll.
You should get into it.
So I go to this place, Philosopher's Stones.
I get him some rock.
Wouldn't you know it? This thing comes to life.
Unfortunately, there is no extent of goofy storytelling that will make this any better than it is.
It is exceedingly problematic.
It's not asymmetrical.
It's just crooked and wonky.
That said, you really did try to accomplish a lot of work.
It just doesn't come out in an intelligible way for me, either visually or with the story.
It's like the stone version of Popeye had a stroke, and I just don't get it.
It doesn't resemble anything stone.
I mean, I see that you have the strings on there for where the marionette could've been, but, you know, it's like you're getting too goofy, guys.
Not only is it visually not funny, it's also not very well-crafted.
As soon as you made the decision to go this humorous route, that's where you came off the rails.
Logan and Adam, will you please head back? Thanks.
You did a great job.
George and Cig, please step forward.
Hey, y'all.
Both: Howdy.
Why don't y'all dudes tell me about your marionette leather dude over there? Sure.
So he was created to taunt the bulls during the intermissions of the rodeo.
But after he saw so many rodeo clowns get injured, he magically came to life.
And now he's the new rodeo clown, so nobody has to get hurt anymore.
- Aha.
- He was even supposed to have - a leather moustache - Yeah.
And we decided it was too hokey-looking.
I am so glad you guys didn't goof it up with a bunch of silly stuff, 'cause he is awesome.
Both: Thank you.
He looks great from far away.
Up close, it's phenomenal.
It looks like an old, beat-up leather toy.
And the coloring is beautiful, the blue and the red.
It's all toned down like it's dirty and used.
You really did a great job.
Thank you.
There's a lot of good stuff in this.
There's just enough embellishments to convey the story.
But what impresses me the most is the resolution of the detailing.
It is so precise.
It feels genuine.
I really like this piece, especially up close.
The detail on his face and that 3-D rivet into his forehead, it's beautiful.
Very, very well done.
Both: Thank you.
George and Cig, please step back.
Thanks, man.
Evan and Ben.
Tell us about your trade and the associated material.
Our trade was a goldsmith.
He had a daughter who was a ballet dancer, and she passed away.
And he wanted to make a representation of her with making a gold doll that he could pose.
We had a tough time with it.
And that's what I'm guessing.
You need to know the techniques the goldsmith would've used to fabricate the daughter to add visual interest.
And I love the ideas of the joints and so on conceptually, but it feels like a missed opportunity of the trade.
- Yeah.
- Mm-hmm.
Feels like whatever you were using for the gold adheres differently to her skin than it does to the pieces.
So the seams are very evident and not camera-ready, especially at the knees.
So overall it may be a better idea than execution.
Choosing to do a Barbie-style head, I get it.
You were making the neck like a ball joint, but that was a huge mistake.
The linear nature of that neck joint is so disruptive to the flow of the rest of your design.
If you would've made a really cool join there, like you did on the elbows and knees, that could've really put this on a different trajectory.
Evan and Ben, you can head back.
Thank you.
Ouch.
Emily and Tyler, please step up.
- Hi.
- Hi.
- Hello.
- I'd love to hear about the story behind your marionette.
The puppet maker wanted to make a forever dancing marionette.
And there is an immense amount of repair he has to constantly upkeep to keep her together.
- I love this piece.
- Thank you.
It's really a triumph.
I want to watch the movie that she stars in.
I'm very curious how you achieved that quality on the face.
I shaved moleskin, and then I brushed it off with a chip brush and then applied it to get the fuzz finish.
What, did you just make that up? - Yes, she did.
- Wow.
Wow.
Unbelievable.
- She did.
- That's amazing.
Both: Thank you.
It's the details that overwhelm me.
The application of the staining, so gorgeously weathered, and so perfectly balanced.
Well done.
Both: Thank you.
She is exquisite, you guys.
Just the little touches of the cotton coming out of the joints, and the way you aged the tooling on her skirt.
You could put her right in front of the camera, right now.
- Thanks.
- Thank you.
Emily and Tyler, please step down.
Okay, thanks, guys.
Please head back to the makeup room while the judges deliberate.
Thanks, guys.
All right, judges.
Well, let's start with your favorites tonight.
How about Keaghlan and Melissa? A good idea, well-executed.
It was solid.
They had great details.
The light-up components, the little smoke coming out of the smokestack.
They did a fantastic job.
And that patina of the metal, it was really impressive.
Beautiful weathering and paint job, but the sculpture didn't quite nail it for me.
All right, let's move on to Cig and George.
This thing was absolutely extraordinary.
Yeah.
That paint job was right on.
The level of detail, to include all of that little stitching along each piece of leather, amazing work out of both of them.
Yeah, I also liked all the different textures of leather.
The smoothness of the treatment on the head, and then the roughness of the pieces that were like hair.
It was very accurate.
It's like, finally, the best of their skill set is starting to become available to them.
Very exciting.
All right, well, let's move on to Emily and Tyler.
I thought she was exquisite.
I want to see a whole movie of that character.
Oh, she was gorgeous.
That washed-out, fleshy, peachy, pinky, with a little dusting of taupes.
The palette was sublime.
Head to toe, there is narrative throughout this character.
It's really incredible.
All right, let's move on to the makeups that didn't come together this week.
Let's start with Ben and Evan.
They ran out of steam and created a cacophony of errors.
The fact that they made that weird halo thing around her head It's like, why would you think that would work without putting something in there to fill in the gap? Well, and unfortunately, it didn't have much to do with the goldsmith or anything you think of when you think of gold.
That mask piece was very confusing.
They kind of got into the middle of the whole thing and went, "I don't know," and weren't able to pick themselves up by their bootstraps.
And finally, Adam and Logan.
It was aesthetically remedial, and so substandard for them.
It feels like they started with this idea of this detail in the stonework that had nothing to do with the rest of the character.
It was unfortunate.
I'm not saying they shouldn't have fun, and I'm not saying that there can't be whimsical elements, but they've got to take it more seriously.
All right, then, judges, have you made your decisions? - We have.
- Yes.
Okay.
Let's bring 'em back out.
Welcome back, guys.
All right, Glenn, tell us about the top teams.
Melissa and Keaghlan.
We love the interpretation of puppet as automaton, and you managed to build some great details into your fabrication.
Cig and George, you guys nailed the leather texture in all of your pieces.
And the various washes you did with the paint were really exquisite.
Emily and Tyler, you gave us a beautiful weathered paint job head to toe.
And we love that you invented your own technique to infuse the face with fabric.
Okay, so who is the winning team? Tonight's 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, so who is the winning team? Tonight's winning team is [dramatic music.]
Emily and Tyler.
[upbeat music.]
This character was an absolute coup for you guys.
She was unbelievably gorgeous.
Everyone else better look out for you two.
Both: We win! Again.
Whoo! It's a really great feeling.
I feel like it's awesome for our team, and - Let's keep going.
- Yes.
Congratulations.
As winners of tonight's challenge, your team has won immunity in next week's Spotlight Challenge.
Thank you.
Well, great work this week, everyone, and Suzanne, thank you again for joining us tonight.
Thank you so much for having me.
It was so much fun.
All right, you guys, why don't you all go home and get some rest? We'll see you soon to tell you all about your next Spotlight Challenge.
- Thank you.
- Thank you.
- Bye.
- Thank you guys.
This challenge is a reminder that Ben and I haven't gotten any wins yet, so we're scared that we don't have the formula for winning.
We just got to keep trying, and hopefully we don't get eliminated before we get a chance to redeem ourselves to the judges.