Face Off (2011) s04e01 Episode Script
Make It Reign
This is a search for the next great name in movie magic.
Face Off is back for our biggest season ever.
will take the ultimate plunge in a competition unlike any other.
That's just freakin' crazy.
They'll face breathtaking challenges.
Your challenge is to create a Goblin King.
But wait, there's more.
She has some kind of crazy twist.
- Bioluminescence.
- Wow.
- Create a werewolf.
- This is gonna be awesome.
- An original giant character.
- Oh, my God.
- They went big.
- It's freaking cold.
- Unbelievable deadlines.
- Go, go, go, go, go, go, go.
Fuck.
- I can't do this shit.
- Take it off.
- Just take it off.
- I'm sorry.
Oh, my God.
It's a disaster.
Some of the most talented artists in Face Off history.
I'm really blown away.
Along the way they'll come face to face with industry titans.
You guys really pulled it off.
It's a great silhouette and a great first impression.
But to come out on top, they'll have to impress our award-winning panel of judges-- Ve Neill, three-time Oscar-winning makeup artist whose work includes Beetlejuice, The Hunger Games Catching Fire, and The Host.
I think you did a great job.
Glenn Hetrick, cutting edge makeup artist on CSI New York, The Hunger Games Catching Fire, and costume designer for Lady Gaga.
I'm pretty thrilled with this to be honest with you.
And Neville Page, creature and concept designer on Star Trek, Green Lantern, and Tron Legacy.
It's fantastic.
In the end, only one will win the opportunity to be a guest lecturer at Make Up For Ever's academies in New York and Paris, the all-new 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Welcome to Face Off.
Our contestants have just arrived in Los Angeles and are on their way to meet me here on the beautiful Queen Mary for their first challenge.
My name is Alam, and I'm originally from South Korea.
I recently graduated makeup effects school.
I know the other artists may have more experience, but I know I have a lot of creativity, and I'm passionate.
My name is Michael.
My brother is Matt Valentine from season two.
Being here means I finally broke the barrier so people will see I have talent on my own.
I'm my own person.
I want to make a name for myself and get out of his shadow.
I'm Wayne.
I'm a self-taught artist.
I was awarded the Dick Smith scholarship legends of makeup.
It was a $10,000 scholarship for cinema makeup school.
Winning Face Off would be huge to me.
It would make my dreams come true, because I would like to have my own special effects shop within about five years or so.
- Hi, how are you? - Hi, I'm Alex.
How are you? - I'm Wayne.
Nice to meet you.
- Wayne, nice to meet you.
I've been working in special effects for approximately ten years now.
My husband and I have a company, and we've done everything from music videos to TV shows.
Isn't this place, like, haunted? I think so.
Hi.
Meagan.
I do beauty.
I do high fashion effects.
I also do hair.
My ultimate goal in the effects world is to get to the status of Ve Neill.
I hope you don't get mad when I win.
No, I'm joking.
My name is Eric Fox, and I make monsters.
I've worked in indie films for over 16 years.
Specialize in horror.
Specialize in everything that normal people don't wanna touch.
When I walk away with that 100 grand, I can actually be able to provide for my kids, my wife, the way that I should.
Got another one.
Hi.
Katie.
I currently freelance as a makeup artist.
I grew up in a small coastal town, and I was kind of like a little rebel.
My dad was an artist.
He passed away due to cancer.
I get a lot of my creativity from him, so to think, if he could see me here, he would be totally blown away.
- Anthony.
- I'm Autumn.
As all the contestants are walking in, I notice right away that we are all different.
I mean, we obviously have, like, jocks here with the goth kids.
This is definitely an interesting group of people.
Look who's here! - Oh! - Whoo! McKenzie comes walking in, and everybody goes - Hey.
- Oh.
Hey, everyone.
Welcome aboard the beautiful Queen Mary and another season of Face Off.
Is this really starting? Somebody, just pinch me right now.
Once upon a time, this was the grandest ocean liner in the world, carrying Hollywood royalty and true royals like Queen Elizabeth.
That brings us to your first foundation challenge.
From Shakespeare In Love to Alice In Wonderland to Cleopatra, Hollywood films are filled with an incredible array of memorable queen characters.
So your foundation challenge is to select one of these crowns and use it to inspire an original queen character that shows us who you are as an artist.
I'm going back and forth from McKenzie to the crown I want.
Because this is the very first chance to showcase what I can bring to this competition.
The stakes are huge here, guys, because the winner will earn immunity and cannot be eliminated from this week's spotlight challenge.
Hell, yeah.
I want to win immunity so bad, because, at the end of the day, who wants to be safe? Everyone does.
Before I begin, I'd like to introduce you to your judge for today's challenge.
He is an Oscar and nine-time Emmy award-winning makeup artist.
Please say hello to my dad, Michael Westmore.
Holy crap.
This guy is a definite pioneer in the makeup effects industry.
I am so excited.
Thank you so much for being here.
- Pleasure.
- What you guys don't know is he's not only your judge for this foundation challenge, he's also going to be your mentor for the season.
Oh, yeah! - Wow.
- That is cool.
- So cool.
- He'll be coming by the lab each week to give you advice and share his years of experience to help you make the best creations possible.
The one and only wonderful Michael Westmore.
That definitely takes my breath away.
Being mentored by Michael Westmore will be amazing.
I'm gonna have the creative insight that he's had for all these years.
I'm looking forward to it too.
What are you going to be looking for from these guys today in their makeups? Well, the makeup and the crown must complement each other and tell a story.
I want to see the both of them really working together.
All right, let's bring out your models.
You have a huge selection of wardrobe and accessories to help create your characters.
And you've got two hours to complete your makeups.
On my go, grab a crown and get started.
Not yet, not yet! Your time starts now! Damn you.
Wow, that sucks.
I really wanted the black one.
- It's crazy.
- Everybody wanted that one.
It's insanity.
My first pick actually had got taken by Alex, but I'm really happy with the crown that I got 'cause it's basically my style.
So my queen's actually gonna be the queen of lost souls.
Normally when you think queen, you think beauty, and with this I kinda want to go for the opposite.
My name's Autumn.
I'm a part-time special effects artist and full-time stay-at-home mom.
I've been working on independent films, doing lots of blood and guts and death and dismemberments.
And I would like to work on things that my child could be proud of, instead of hiding what I'm doing in the basement.
All right, relax.
Breathe.
Okay.
Okay, look up for me.
My name is Troy.
I do beauty makeup.
From my perspective in the black community, makeup is not gangster.
Where I'm from, there's not a whole lot going on in this industry.
So, as far as I'm concerned, it's my last chance.
All right, let's get a little bit of this.
She's a warrior princess whose father was murdered, so she revenges his death.
And I'm actually using a chip brush to kind of splatter the makeup onto the skin so it looks more broken up like a real blood pattern would.
- How about the queen of scars? - Ooh.
My name's Kris.
For the last 15 years, I've been teaching and working at makeup effects houses, gaining all this knowledge and experience.
Ultimately, being in this competition, I just would love to make my family and kids proud of me.
My name is Eric Zapata.
I am the youngest contestant here.
My friends that I met in film school, we decided to open up our own film production company, and we do all aspects of film, whether if it's a commercial or music video.
Glue your ear.
I picked this crown over here.
I wanted to pick something that was a little more real and organic, so right now I'm just pasting those prosthetic ears, and then grease paint so I can go back over them later on and bring it back more to her skin tone.
I picked this crown with the feathers on it.
And it immediately makes me think of a warrior queen.
That to me is a personification of myself, because in 2008 I was diagnosed with ovarian cancer.
And during that my husband left and I lost my job, but I came out of it a stronger woman.
And for the first time in my life, I'm finally doing what makes me happy.
Do you want it on top of your nose? Guys, we have one hour left! Okay.
My name's Anthony.
I own my own effects company.
When I was 16, I created my first foam latex mask.
I was tired of all the stuff you saw in the Halloween stores and knew I could do better.
I'm a very competitive person.
I think this will definitely take me to the next level.
I'm trying to create some kind of an alien queen creature.
She's gonna have a bunny nose.
Why not? We'll see where it goes.
I've worn more makeups on myself than I've done on other people.
- Oh, yeah? - Yeah.
My name is David Greathouse.
Everyone calls me House.
I had a fascination with monsters probably since the age of three, so I've spent my whole life in haunted houses and low-budget films.
I've scared thousands of people, thousands.
I chose the golden crown, and I'm taking influence from the Queen Mary ship, and there's lots of gold around us, so she's the queen of currency.
My queen, she's evil.
She lives, like, in the woods, kind of like a Halloween kind of evil queen.
And she has, like, all these injuries in her face and stuff because, like, she's been through a lot of, like, bar fights.
Man, she wasted that damn crown.
Five minutes left.
All right, everybody, time is up! Brushes down.
- Hi, Troy.
- Hello.
Hi, Troy, Mike Westmore.
So explain your concept to us.
I wanted to go more for a warrior type princess.
I also wanted to use my beauty skills as well as my effects skills.
It's a nice, subtle beauty makeup, but you selected a crown that is so ornate that, to me, it calls out for more fantasy.
- Gotcha.
- I kinda grew up in, like, unicorns and rainbows, and so I think this really reflects my kind of style.
I saw that crown and immediately thought ice queen.
And this whole room and all these costumes, it reminded me of, like, a masquerade kind of party.
Well, I think, by saying masquerade, it totally justifies - what you did around the eyes.
- Yeah.
- Nice job.
- Great, thank you so much.
She's the queen of scars, and, instead of blood, there's magical glitter.
Mm-hm.
It doesn't look like a scar.
It looks like a slash of glitter.
Give it some third dimension, so that it isn't just laying on the surface of the skin.
Whoa.
This is the queen of absent souls.
- I believe it.
- Basically, I didn't get - a prosthetic-- - You put it all together.
Yeah.
This is just pieced-- random pieces to-- I'm a very outside-the-box thinker.
- I try to - Yes, you are.
go big.
I think you've been able to put together the whole package.
Thank you so much.
She's a princess, and her mother was cast into the underworld, so now she's heir to the throne.
I was trying to keep her really young, tried to focus a lot of the attention on the eyes.
I'm not thrilled with the makeup, 'cause I think you missed the concept of trying to bring the crown you selected into her face to be able to tell a whole story.
The paint across her face is worn like a badge of honor.
I really like that.
I think it's a very creative thought.
And how does this represent you as an artist? I've been through a lot of trials and tribulations in my life, so I love to create my inner strength and put it into a makeup.
Well, I think you did that.
I think you were very successful in doing it.
I love playing with color.
I'm a painter, so that's kinda why I tried bringing as much color into her as much as possible.
I think you've done such a good job this could actually shoot on film.
Oh, thank you.
I am so humbled and taken back and almost geeked out to the fact that he said what he said.
But looking around and just seeing for the first time what everybody's capable of and trying to measure up how mine compares with everybody else, some of them are really beautiful.
I feel a little intimidated.
All right, so who created our top looks of the day? Eric F.
It was a very creative, out-of-the-box makeup that showed us who you really are as an artist.
- Thank you so much.
- Anthony your makeup was the total package from head to toe.
Thank you so much.
Thank you.
Jenna, your makeup utilized your personal strength.
It was very subtle and well applied.
That's a real honor.
Thank you.
Okay, dad, who is the winner of this foundation challenge? The winner is Coming up - Fuck.
- Oh, my God.
Oh, my God.
This is looking like sabotage.
I'm really blown away.
Okay, dad, who is the winner of our first foundation challenge? The winner is Anthony.
Thank you so much.
Thank you.
Whoo! Good job.
Yours was the only piece I think that could be put on film and literally work.
- Thank you.
- Congratulations.
I can't believe it.
I'm coming out of the gates with immunity.
Just means that I'm not gonna get kicked off this next challenge, and that is huge.
All right, why don't you guys go check out your new house? I'll see you tomorrow for your first spotlight challenge.
Thank you.
- Oh, my God.
This is awesome.
- Wow! - This is cute.
- Sweet.
Oh, my God.
Wow, this is where we're gonna live? I'm super stoked.
- Wow.
- Bigger room here.
- Awesome.
- Whoo! - Check at the view.
- The house is super cool.
Now I wanna see the rest.
There's just a room that's got pictures of all the past contestants.
And just knowing that you're gonna be one of them on that wall one day.
It's beautiful, 'cause it's on top of this big mountain, and you have this beautiful view.
- The winner has to toast it.
- All right, guys.
- This is gonna be an adventure.
- Here, here.
- Cheers! - To Face Off, guys.
To Face Off.
The morning of the spotlight challenge, we're walking down the street, and we see this beautiful cathedral.
Amazing, amazing architecture.
And I'm so excited.
I'm thinking, what could the challenge be? Wow.
Welcome to St.
John's Cathedral.
This masterpiece was built in 1925 and is one of the most recognizable examples of gothic-style architecture in the city of Los Angeles.
It's gorgeous.
Now, not only are cathedrals a place of worship, but they have also historically been the place where royalty are crowned.
Your first spotlight challenge will start right where we left off.
You've already created a queen.
Now it's time to make your king.
However, this is no ordinary king.
You'll be making a mythical creature featured in films like The Hobbit, Labyrinth, and even the Harry Potter series.
Your spotlight challenge is to create a Goblin King.
Yes.
Many things are running through my mind.
Goblins are obviously very scary creatures, so I'm really getting excited.
But what would a king be without his kingdom? The ancient world shown on this map has been divided into geographic regions.
Your Goblin Kings must be physically influenced by the lands that they rule.
You're going to be working in teams of two.
Your teams have already been randomly selected, and they are Jenna and Eric F.
Me and Jenna were top looks in the foundation challenge, so I know we're gonna nail this.
Michael and Troy.
Alex and Wayne.
Alam and Kris.
Anthony and Meagan.
In my mind it's, like, really great that I'm working with him, because he is an amazing painter, but at the same time he has immunity.
Katie and House.
Eric Z and Autumn.
Will you please go ahead and stand next to your teammate? Team one, you're up first.
- Desert.
- Team two.
Ooh.
- Volcanic.
- Alex and Wayne.
Swamp.
- Alam and Kris.
- Our choice is the forest.
Anthony and Meagan.
- Definitely the mountains.
- Arctic.
Jungle.
And before you leave here today, I want you to take some inspiration from this incredible cathedral and get started on your sketches.
When you're done, head back to the lab, select your models, and get to work.
Good luck.
I think he needs a staff.
He needs a staff and his tunic will be like his cape.
Yeah, that'd be cool.
Yeah, yeah.
That'd be awesome.
Me and Troy sit down to sketch, because the first step in creating any makeup is to get a good, solid design.
We need dark black around the eyes and black inside the eyes.
That'd be creepy.
Our concept is a volcanic dark king who doesn't have a kingdom, so what he does is takes over other kingdoms.
That looks pretty cool, maybe for some armor or something? Right now we're just working on overall visual concept.
We're going for a very dry, emaciated look.
Lots of sand textures.
- Very heavy cracking-- - Cracking.
We are doing the mountain Goblin King.
There's so much you can do with mountains.
There's such an aesthetic about it.
And I'm thinking about how his heart is made out of stone and he's so evil that it's just consuming him and turning him completely into stone from the inside out.
Our Goblin King is the forest.
He's going to be a wood texture with a pine tree beard.
Kris really know what he's doing.
He's been around, like, long time, and he comes up with this really good tree-looking face.
So, like, why don't we do branches for a crown and wood arms? Love your sketch.
I wish I could draw like that.
What rules the swamp is usually alligators - and crocodiles-- - Exactly.
We're both from Florida, so I think right off the bat that we knew what we wanted.
He's gonna be this gator king of the swamp, so he's gonna have a lot of, like, scale and a lot of texture to him.
Like, even if we did, like, some type of fin - that was webbed around it.
- I like that.
All right, guys, that's time.
Let's rock this.
We leave the cathedral, and we can't wait to get to the lab.
- Oh, my God! - Whoo! Wow.
Walking into the lab, I feel like a kid in a candy store.
- They have everything here.
- I'm stoked.
- I love Make Up For Ever.
- Yeah.
Lifecasts.
The lifecast is a stone copy of the model's face, and first thing we have to do is choose our models.
We're doing a wood creature, so we pick Maleek because he has a nice dark skin tone like wood.
Our concept of a Goblin King is to make him out of wood, very tribal, kind of like a tiki warrior.
Nice to meet you, Tim.
We only have five hours.
I'm gonna start laying the foundation of wed clay on this.
The next step to creating a prosthetic is putting clay on a cast of the model's face.
Do you think this should all be one piece or two pieces? - One piece.
- One piece, okay.
Our plan of attack is sculpt the face, sculpt the chest today.
We'll need razor blades to start shaving down icicles.
Yeah, yeah.
The concept that we're going for is that he's kind of this, like, decaying king of this ice kingdom.
The first thing I start doing is start hacking away at all these foam tubes that we're going to turn into the icicle hands.
And house begins sculpting the face, and he's really fast.
Immediately I'm sculpting it in mind for it being a silicone appliance, because it needs the icy translucency that silicone provides.
I'm gonna get started.
Okay.
Fuck, dude.
- Damn, I'm sorry.
- Oh, my God.
He drops it.
There's not, like, three casts back there that we can work on.
This is the only one.
Fuck.
Oh, my God.
Oh, my God.
Oh, my God.
- Oh, my God.
Oh, my God.
- Okay, I can fix this.
It's all good.
Anthony has immunity, and he broke our form.
That sucks.
And it could be my ass that's going home.
I'm sculpting the chest, and we're adding some nice pecs, which I was having some difficulty with What I wanted was a full front picture of somebody's body, that's what I wanted.
Where is Beefcake, man? - Yeah.
- He's, you know, take out his shirt for a sec.
Beefcake is Wayne.
I believe he was a football player.
He is very muscular He is like your dream beefcake.
That's one studly dude.
I'm gonna get started.
- Fuck, dude.
- Damn.
So we only get this one cast, and Anthony drops it.
- Such an ass.
- I just totally did not mean that.
And it's the nose that he broke.
This is so bad.
It's good.
I can fix this.
He's gonna have to handle it.
I can't-- I have to walk away.
I can't believe he dropped it.
- Fuck.
- What happened? He dropped his life-- the lifecast.
It's 'cause he has immunity.
I told Meagan that would happen.
All I'm thinking is this is looking like sabotage.
Fuck.
In this moment, I can't panic.
I can't think about anything else other than fixing this nose.
So I immediately glue that big chunk to his nose, and I start sculpting the other side with palmer's epoxy which hardens in about five minutes to match his form the best that I possibly can.
- That looks good, Anthony.
- Thank you.
Told you I'll fix it.
I fixed it, but it sets us back about a half hour.
It means that I have to go and sculpt that much faster to get this face done.
That's looking good, man.
I know I wanna sculpt the face.
I have Eric start sculpting out the arms.
- This is just the wrong angle-- - Right, right, right.
Look, the muscles, they go this way.
I'm struggling a little bit because I feel like I'm a little underestimated by my partner.
Yeah, you actually can cut that whole piece off right here.
That's gonna be way thick.
Eric is wonderful to work with.
He has no pride.
He's completely humble.
- You're such a good boy.
- What am I, some dog here? It's going very well.
I think we're the first ones to be making our molds.
- Yep.
- After your sculpture is done, you make a mold.
You take a cement-like substance, brush it onto your sculpture.
Once the substance hardens, you can clean out the clay and then fill it with your foam latex, silicone, or latex.
That's what happens when you put two bad asses together.
Hell, yeah.
That's freakin' incredible.
Just all that, like, dude, look at that.
Thanks, man, that means a lot.
In the time that you did it.
The day's almost over, and right now everything's going really well.
Looking around the room, like, yeah, a lot of people have a lot of, like, hands and feet stuff going on, but our sculpture is definitely full of detail that they don't have.
Time's up everybody! It is extremely intimidating that Eric and Jenna are the only team that have their molds ready to go.
It seems like it will take a team of four or five people to do the work that they're doing, and there's just two of them.
Yes.
So it's day two in the lab, and we have a lot to do.
It looks so freakin' cool.
- Like my six-pack? - Yeah.
I've been working out.
Eric starts working on the skull that's gonna go on the crown, and I start sculpting in wed clay the skin.
Our plan of attack, since we have so much skin to cover, we can pour up large sheets that we can wrap around the actor to give the full body that really cool sandy, cracked desert floor look.
Yeah! That looks great.
Thank you, thank you, thank you, thank you.
What if we made the crown like a volcano? Our king needs a crown.
You can't be a king without a crown.
And I assume-- what's a volcano? Volcanoes are pointy-shaped, so from there I try to figure out, how am I going to make this crown? I'm gonna get some silicone.
This is a risk doing this makeup out of silicone.
The weight of the silicone might be too much for the makeup.
Foam latex is the tried and true material.
Silicone, when done right, can be stunningly beautiful, but do it wrong, and you may not have another chance at it.
Hey, guys! We're here to do a walk-through and let you get some tips and advice.
All right.
Having Michael Westmore as a mentor is awesome.
It gives me confidence knowing that I'm going to have someone like him guiding me through this process.
We're doing a headpiece, a chest piece, and an arm as well-- - And a face.
- It's going to look like there's a mountain coming out of his heart.
- Some rocks forming.
- You've got a great direction.
One thing that's gonna be very important here is your paint job.
Do a little sample before you jump into something.
You don't realize it until you really take a rock and you look at it and you realize how many colors are really in there, light and dark.
- Thank you.
- This is the Goblin King of the Arctic, and this is a shot of his face.
His face will be in silicone.
Are you planning on coloring it a certain way? Yeah.
Whites and blues underneath.
A lot of intrinsic painting.
Ice has so much depth and luminosity to it.
- You might try a little thing-- - Like mixing it just right in.
With glitter or if you have something small like a fish scale.
We are going almost like a tiki jungle warrior.
We have him all carved out of wood.
I have knots for ears that go up into points that are almost like a crown.
It looks great here in clay but once it gets painted, all of a sudden, it could flatten out.
Any texture we don't achieve with the sculpture, we should go - in with paint and just-- - Yes.
Try to create as much depth as possible with paint.
Yeah, yeah.
A brush that has nice long furrow on it.
Okay.
We're incorporating elements that you would find in the desert such as, like, tumbleweeds-- - Animal bones.
What are you gonna use for a crown? For a crown we're actually using part of the tumbleweeds, and, when it's tied in, it'll have, like, a really cool, like, gold crown effect.
- Excellent.
- He's pretty much wood, and we're gonna build a stick crown for him.
Wow, very nice.
When they walk, though, these are going to flatten.
I'm sure they'll probably move and bend a little bit.
It would help putting a wire coat hanger down on a few of 'em maybe, 'cause a few of 'em might just help the rest of 'em as a bridge.
That's a good idea.
He's a king with no kingdom who also hunts other kings.
- Oh.
- He's conquering the other kings in this challenge in a way.
It's almost a crown, but it's like a big volcanic-- volcano on his head.
And then possibly give him a shield as well.
You've picked a character where you have a lot of detailing that you have to work on.
Yeah, we wanted to kinda keep it pretty simple as far as how many pieces we actually had to apply.
- Mm-hmm.
- So we can concentrate the rest of that time on the actual paint.
Good.
- Wow.
- Oh, wow.
I love the protrusions that you've carried through from the back here into the mold here, the alligator theme and the alligator skull.
Color-wise, you gonna bring any - We're going - Greens into that? Very reptilian.
Yeah, we're going-- the greens.
- Real alligator.
- Yeah.
And, you know, I think it's a good idea too.
- Yeah.
- As much painting as you can do, it's gonna be important.
What are your thoughts overall with everybody, first off? Overall, I think everybody's doing a great job, - although I have a favorite.
- Mm? With the alligator makeup.
They're doing a beautiful job doing it.
I'm concerned about how they complete their detailing and their painting.
Okay, is there anybody that you are definitely concerned about? - Mostly is the Arctic.
- Really? Yeah, any time you get into ice and snow, you could run into problems.
It has to have a sheen to it.
It has to sell a different-- a whole different texture.
That's interesting.
Then we have jungle.
Wood always concerns me, because it really has to look like wood, or it doesn't.
So their problem again is going to be in the paint job.
- Mm.
- To be able to sell the idea that it is a piece of wood, not just a brown fantasy character.
All right, guys, it's looking great! - Good luck tomorrow.
- Thank you.
Bye.
It's moving.
It's time to open the mold.
All the way out.
I wanna take it real slow.
And I notice that it's kind of sticky.
- Hold it there.
- Uh-huh.
I'm holding the head cast, and he's pulling the negative.
I'm really nervous.
Not sure what's going to happen.
Finally, the whole thing just kind of comes off, and it's this gorgeous ice blue silicone prosthetic, and it turned out exactly the way that we wanted it, and I'm like, "thank God.
" - We have a piece.
- Yes.
I want to do a latex bald cap, and there aren't any.
How the hell am I gonna build my own friggin'-- So I use the mannequin head.
I'm, like, I'll just build a latex bald cap.
I'm painting it on-- Fuck.
It's running off.
I'm frustrated.
I just walk away.
They don't have fucking latex bald caps.
- Make one.
- I'm tr-- can't.
Autumn has a meltdown about the bald caps, and I need her to come down from that very quickly so that we can get what we need done.
It won't fucking set up on the fucking mannequin.
I'm, like, furious over it.
Right now, let's worry about getting these open - and cleaned up.
- Yeah, exactly.
'Cause I don't know how we're gonna put the crown on, though.
Autumn's freaking out, and Eric Z's cool as a cucumber.
Somebody on the team has to be the voice of reason.
That's my partner! All right, so we need to start painting these babies, don't we? We got our latex port up.
We're ready to start base coating.
Jenna! So I look up, and I'm tripping out because it's just too dark.
This isn't the color that we originally planned on.
Jenna! That's really dark.
I'm just getting some more depth inhere.
We have less than half an hour.
After all this hard work, I'm worried this could be a complete disaster.
So day two is almost over, and I start painting our skin pieces, make 'em a little darker, and then I hear Eric go, "Jenna!" Jenna! I run over to the booth, and I'm kinda panicked.
- That's really dark.
- I know.
I'm just getting some more depth in there.
In my opinion it's not too dark, 'cause I know we have to go darker to get the look we're wanting and the definition in the cracks.
It looks like our undertones.
I'm worried at this point.
We have less than half an hour.
- All we can do is forge ahead.
- It'll be okay.
Yeah.
I see it working.
I think the basecoatark was a good idea.
Yeah, no, it was great.
You know, after final inspection, you know what, she got it right.
- I'm stoked.
- I was worried, though, 'cause you had this look on your face like, "uh-oh.
Not what I wanted to do.
" Jenna has some great points, you know.
It needed to be a lot darker so, when we brushed the lighter color over, it's just gonna pop a little bit more and add a lot more contrast.
- This is all teamwork right here.
- Yeah.
Hey, brushes down, guys.
It is time to go home.
Our hands stick together.
Tomorrow is huge.
We might have all of our pieces done, but, if we don't get it applied, I don't know.
At this point, it's anybody's game.
Wow, that was a long day, wasn't it? When we get back to the house, everybody's feeling tired.
Michael and I sit down and have a conversation so we both are on the same page.
Painting is gonna be the main, main focus tomorrow.
I think we're sitting pretty good, I think.
- I think so too.
- Troy tells me he's noticing all the other artists have so much going on.
And that's what we didn't wanna do.
We didn't wanna have so much going on that we have no time for it.
Everybody else has, like, a million pieces.
You're gonna run out of time to paint them.
- Yeah.
- I think a few people might be in over their heads.
I definitely think we've got an advantage.
I feel like, you know, that my brother's given me this knowledge, and I'm gonna use it.
I trained side-by-side with my brother, and I gotta take any advantage I can in this competition.
All right, man.
We're gonna do it.
- Yeah.
- I'm nervous.
I think right now everyone's stressing more than they have to.
We have, like, a lot of, like, applying and stuff, and we're debating whether or not to just apply the actual face in the one hour last looks.
Personally, like, me and Anthony are gonna do that last.
Everyone seems really confident and everything, but I just wanna be, like, "don't you guys realize "that someone's gonna get kicked off, and it could be you, it could be me, it could be anyone?" So to leave after three days would be probably the worst thing ever.
- Nice.
- Oh, yeah, it's thick.
So it's application day.
We have four hours in the lab, and we still have a lot to do.
Like, Wayne wants to now fabricate these cuffs, but now I'm starting to get nervous that we might run out of time with this.
Hi, nice to meet you.
- I'm Alex.
- We're literally gonna just have you sit there for the moment, 'cause we're gonna start pre-painting stuff.
Right now we need to paint.
We need to make sure everything's pre-painted before it gets on him because I really don't want him sitting in the makeup longer than he needs to.
It's nice.
Kris and I have a lot to do.
We have to make a crown.
We have to make the staff.
So, ah, I'm panicked.
I needed to get my shield done.
I need to get my staff done, the crown done, and the costume.
- How you coming along, Troy? - Good.
Putting-- laying down the wire, and I'm gonna spray orange all over it, and should be pretty quick.
Troy's still over there painting the face and chest.
He's a little more relaxed than I feel that he should be.
And now I'm starting to sweat, because Troy still hasn't picked up the pace.
- It's like one super edge.
- Yeah.
I'm not happy with the application around the lips.
Some of the edges on it are a little thick, so I'm having a bit of difficulty.
Let's see where that other piece fits before we start gluing it.
We are still applying the piece when I'm looking around, and I see everybody has paint, and we're the only people that don't have paint on our model yet.
- That's good.
- We need to put some kind of paint on this guy before we leave.
I do the hands and the feet now, right? Yeah, yeah.
'Cause I wanna do so much detail on him, you know what I'm saying? We're planning on painting a lot of wood grain in and hoping we have time to really pop out the detail on this.
Dude, an hour's like nothing, man.
That's kinda scaring me now.
I'm a little nervous because we don't have time for what we have planned.
Troy, within 30 minutes we can start getting this on him, you think? Yeah, I think so.
Um, volcano guy right over there with the 39 minutes left, and he's got a chest on.
We're almost done with the four hours at the lab, so going into last looks really all we need to do is touch up around the edges, finish painting his actual body, try to get our contacts in, also working on distressing the teeth.
That's a lot to do, but I am feeling like we can get it done.
Everybody, we got two minutes! Right now I'm feeling kind of nervous because we still don't have any paint on our model.
That's time! Grab your stuff, let's go.
We're gonna have to rely on last looks to really pull this together.
I mean, we're fast, but I don't know if we're that fast.
Coming up - You did an exceptional job.
- Oh, my God.
I really loved it.
What you just said, that is not okay.
We only have an hour in last looks to pull this together.
As long as we can get the paint on there quickly, I think we'll be okay.
I'm gonna worry about the mouth and the eyes.
We are trying to get the mouth to stay down, and it's not working.
The area around the mouth looks like a horror show, - and not the good way.
- That's not gonna stay on.
Putting on the crown is a nightmare.
Oh, lord.
The last thing Michael and I want is for the model to walk on stage and his crown and wig fall off.
After this wing, will you mix the base colors? Yeah.
- Yeah, I'm gonna mix the colors.
- Sweet.
Wayne's moving down the back piece, but, dude, we gotta get painting.
At this point, I just think we have to get some kind of color on him.
I don't know how much time we have left.
Is there a clock? It's a mad race, and time is going so fast.
Five minutes.
Way faster than anything I had ever imagined.
Time's up! - That's it.
- I'm sweating bullets.
This is really not the product that I wanted to show.
Welcome to the Face Off reveal stage.
Tonight one of you will be eliminated.
Say hello to your judges-- Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick Good evening.
- Hello.
- Hi.
Three-time Oscar-winning makeup artist Ve Neill Well, gang, welcome to Face Off.
Thank you.
Creature and concept designer Neville Page - Hi, guys.
- Hi.
And joining our panel this week, he is an iconic actor, starring in some of Hollywood's biggest franchises including the Indiana Jones films and The Lord Of The Rings trilogy.
Please give a warm welcome to John Rhys-Davies.
To you.
John, thank you so much for being here tonight.
Thanks for having me.
I loved him in Raiders Of The Lost Ark.
He's worked on several films where he's worn prosthetic makeup.
It's really awesome that he's our guest judge.
So, guys, this week your spotlight challenge was to create a Goblin King physically influenced by the land that he reigns over.
Let's see what you've come up with.
I could see the detail from where I'm standing so I'm happy.
It looks beautiful on stage.
I love it.
I love our makeup.
I'm excited.
This thing looks scary.
No matter what the judges say, I'm happy with my work.
Maybe we could actually wing this and win it, because it looks pretty cool under these lights.
I'm just really nervous that the hat's gonna fall off.
That would be such an embarrassment.
I'm nervous.
I'm really nervous.
I wanna win this challenge.
I think he stands out.
I think he's shimmery, he's icy, and I think we have a good chance of winning.
I am terrified at this point to see what the judges are gonna say.
Hopefully it's good.
I don't know.
There are a couple areas on the inside of the arm where you can see a little bit of skin.
I'm hoping the judges won't notice.
Judges, why don't you take a closer look? Can you try to emote through the makeup for me? Scrunch your face up.
I want to see how you read through it.
It looks really thick, but it's not.
- Oh, look.
- He's got a bug.
He's got a bug.
Some of the other characters have such a big presence.
Our character might have a little more of a simplistic look, and I'm not sure that that's what the judges are looking for.
- Did they look at the shoulders? - A little bit.
This is cool.
I like the way they did all this.
That's even, like, gold wire on that.
- What nice detail.
- Very impressive.
Yeah, things look great from far away in the dark, but, once you're up close poking at it, that's a whole different story.
It's a fine sort of lizard-like effect, isn't it? Yeah.
There is some nice little stippling and stuff.
It just doesn't read because I have not seen a gator this color, have you? I feel pretty confident.
I think we have a very strong concept.
Why is he all covered up? I don't understand how this face is supposed to transition into this.
This looks like a hat.
It's the top of a volcano, and that's his crown.
I notice Glenn's just picking this thing apart.
I'm utterly confused by this.
I'm terrified.
I'm not shaking, but on the inside I'm screaming.
If you're on Twitter, use #FaceOff to tell us what you think about tonight's designs.
I don't understand how this face is supposed to transition into this.
- This looks like a hat.
- I noticed Glenn's just picking this thing apart, and I'm terrified.
I'm not shaking, but on the inside I'm screaming.
- Do you have any teeth in? - Yes.
Oh, you didn't see those before.
- Very good.
- That's creepy.
Oh, good.
The way that that head goes up into it, it's much better up close.
Could you bend your head a bit? Don't strain your knees, my boy.
You'll need them over the next 70 years.
If anything happens with this creature, it falls on me.
I'm the one going home.
- God, that's a lot of work.
- Yeah, no kidding.
I wanna see what this looks like if the grass wasn't there.
I'm really interested in seeing what that structure looks like if they hadn't made this decision.
Stressing out, it's not gonna help me, so I'm trying to be happy.
And I am happy because it's crazy that I'm already here.
John, you were exposed to some pretty amazing fantasy kings as part of The Lord Of The Rings films.
How do you think things turned out tonight? Extraordinary.
Just extraordinary.
Far beyond what I was expecting to see.
The judges have scored your creations.
Let's find out what they thought.
Kris and Alam, Katie and House congratulations, because you are safe and can head back to the makeup room.
- Nice.
- Thank you.
Thank you.
So the rest of you were the best and the worst of the week.
The judges would now like to speak with each of you to learn more about your work.
Anthony and Meagan, please step forward.
Before I begin, I want to say to all of you, I'm really blown away.
The work is just exceedingly high.
So well done to all of you this week, I mean that.
So to start, please tell me who was responsible for which aspects of this makeup.
I handled the sculpting of the head, the face, the staff, and Meagan did the-- - Shoulders.
- Shoulders.
The chest piece that's kinda hidden.
And we applied and painted together.
From far away, I had serious concerns about the tonality of the makeup.
The paint job up close, very happy with.
And I love that there's some subtle shifts in tonality on the half of face that's more human-esque.
I'm extremely impressed with this piece.
- Thank you.
- Thank you.
The ability to sculpt natural things such as rock, it's difficult thing to pull off.
You did an exceptional job.
The painting of it is executed so well, it looks like the real stuff.
- Thank you so much.
- Thank you.
I thought this was just wonderful.
I love the geology.
I think the execution is good.
I would be very happy to wear that makeup.
I think it's-- well, no, let me rephrase this.
No, no, never will I wear a prosthetic makeup again, but-- but were I young and mad, I'd be happy to be seen in that.
Thank you so much.
That really means a lot.
Anthony, Meagan, thank you very much.
- Will you please step back? - Thank you.
Thank you, guys.
Thank you.
Michael and Troy, will you please step forward? Tell us what is going on with this character and whose idea was what.
He's a volcano.
You know, a volcano's generally ugly.
They erupt.
They leave destruction in their path.
I did all of the fabrication as far as the costuming and the top, and then I sculpted the chest piece and the shoulder.
I handled most of the paint work.
I also sculpted the face, also painted the chest piece.
All right, can you open up the coat so we can see the chest? I've gotta tell you something, sorry to say you covered up the best part of your makeup.
I think the face is just a big charred, scratchy-looking thing, and this headpiece is like a clown hat.
I don't think you did so well on this, guys.
You have a very specific aesthetic happening just in silhouette that feels more like a witch.
I like the staff, actually.
It's pretty cool-looking.
It clearly is the product of two guys dividing their labors, working apart, and then bringing them together and going, "whoops.
" It's black and gray with a little bit of mishmash of yellows and crimsons.
It doesn't work.
Michael and Troy, please step back.
Eric F and Jenna.
First I wanna ask you, on a scale of one to ten, how you think you did in this challenge.
- We probably did an eight.
- I would say an eight as well.
Just because it was the very first challenge.
We are just learning the shop.
That's great, because I think that that's very accurate.
There's some exceptional details in the sculpture.
I really like the sort of hieroglyph.
It very simply harkens towards an Egyptian theme.
It ties in well with the desert.
What I see going on with the eyes sculpturally, definitely asymmetrical.
There is a very fine line between crooked and purposely asymmetrical.
Interesting, unique, cool to look at.
When he walked out and I saw the head, I'm thinking, "oh, my God.
" I really loved it.
And then when I got up close and I saw a lot more of the details, I liked the fact that you've tied all of those details together with that gold wire, and your gold paint, the gold nipple ring.
All those details really finished it off for me.
It really is a very comprehensive work of design.
The lack of water in that parched skeletal desert comes through wonderfully.
Eric, Jenna, can you please step back? Oh, my God.
Wayne and Alex.
What was the original idea behind this? We're both from Florida.
We picked the swamp, so we wanted to come up with the gator theme just because it's the king of the swamps.
Is that face a gator color? I'm not overly familiar with your gators.
The last thing we wanted to do was put a nice cream-colored dry brush over the front of the face, but we really just ran out of time.
What you just said, that is not okay.
I'm perplexed by how you could have such a fundamentally sound concept and have succeeded so well sculpturally.
Not leaving yourself enough time to paint it was a horrible decision.
Who did what in your character? I sculpted the face, the belt piece, and then the little transfers that we did on the feet, and then the transfer that went down the back of the head with the scaling.
And I sculpted the cowl and made, basically, the chest piece.
First of all, your chest piece looks like a psychedelic washboard.
Your proportions are completely off.
His head is so big.
If you were gonna put a head on him this big, you should have built his shoulders out so that he was very robust.
The sculpt of the head, it's such a good design.
How much time did you give yourself for paint? It's probably 40 minutes.
- 40 minutes? - Oh, man, guys.
You must in future balance your time better so that you don't give yourself so little time to add that polish.
Wayne, Alex, could you please step back? Eric and Autumn.
Please start off by explaining your concept.
We didn't really get to pick.
We were the last to get a decision, so we got stuck with jungle.
I came up with the concept, and Eric sketched it out beautifully, and I based the sculpture off of his drawing.
I'm really happy with this thing.
I think that you did a great job.
Who did the arms? - I did.
- I think it's really cool that you actually incorporated what appears to be sort of a musculature, but you did it so that it looks like it's in a tree form, which is really great-looking.
Choosing to do knots for ears, another great choice of figuring out a feature on the tree that's going to work for the metaphor of ears.
That is a fantastic head.
Eric and Autumn, thank you very much.
- Thank you.
- Please step back.
Thank you.
Okay, the judges have heard what you have to say.
If you'd please head back to the makeup room while they make their decisions.
So let's talk about the looks that you liked the most.
Why don't we start with Anthony and Meagan? The makeup itself was exceptional.
The transition and the colors on the more human side of the face were really thrilling to me.
I was impressed with the fact that they sculpted the rock and had it look like rock.
- Looked like rock.
- Organically accurate.
Yes, it was.
Yeah, that's hard.
I think it was terrific.
All right, let's move on to Eric F and Jenna.
It's one of my favorite makeups because there was a lot of attention to detail.
Right down to the little gold wire that they used to tie all the different things together.
That's really a testament to the fact that their teamwork was exceptional.
What I liked about it was that you could tell the features from a distance.
You know, they really had used contrast and shade to make the features stand out.
Okay, let's move on to Eric Z and Autumn.
I loved this piece.
I loved the head sculpt.
I loved the design of the head.
I thought it was such a beautifully executed piece.
The tree form, sculpturally, follows the deltoid down into the tricep and the bicep, and that's really brilliant.
All right, let's move on to some of the looks you liked the least.
Why don't we start with Michael and Troy? Everything that they chose was a mistake right down to the best thing they did being covered up.
Even the chest sculpture wasn't very good-- No.
But it was better than the face.
It is literally just lines carved on the shape of the actor's lifecast with red underneath and black on top.
All right, let's move on to Wayne and Alex.
Out of all of the times we've asked the question, "who did what?", this seems to be the single most inequitable division of labor I've heard of yet.
- She barely did anything.
- That's scary for her.
Well, I think we all loved the sculpture, but there was so many other things that were screwed up on it.
I can't even believe that they didn't get at least a base coat on it before they got here.
If they would have left themselves some time to paint, they could have been on top.
All right, judges, have you made your decisions? - Yes, we have.
- Think so.
Let's bring 'em back out.
All right, Glenn, why don't you tell us about the top teams? Our top teams tonight are Anthony and Meagan.
We thought that you did a really great job sculpting the rock textures on your makeup, and we really loved the way that you handled the transition onto the head.
Eric F and Jenna.
We really appreciated some of the finer details that you brought to your makeup.
And you certainly created one of the most complete overall looks this evening.
Autumn and Eric Z.
We're very fond of your tiki face design, and we really like the tree textures that you sculpted for the arms.
Okay, which team came out on top? Our top team tonight is Okay, which team came out on top? Our top team tonight is Anthony and Meagan.
Oh, my God.
- Thank you so much! - Thank you.
Oh, my God.
We thought that this was the best makeup out there tonight.
We especially loved the right side of the face and the profile.
- Well done.
- Anthony and Meagan, great job, but we can only have one winner.
- Glenn? - The winner tonight is Anthony.
Thank you so much.
Ultimately, we felt that the sculpt on the face and the paint job is what made this makeup a success.
Thank you.
It really-- I can't believe it.
- Congratulations.
- Thank you.
Winning the foundation challenge and then winning the spotlight challenge, I just feel so incredibly awesome at this moment.
Anthony, congratulations.
You and Meagan can head back to the makeup room.
- Thank you.
- Thank you.
Eric F and Jenna, Eric Z and Autumn, you guys are also safe this week.
Please head back to the makeup room.
Thank you.
Unfortunately that means the rest of you are on the bottom this week, and one of you will be eliminated.
Please step forward.
Michael and Troy.
There's some good ideas in the design of your makeup.
You just weren't able to execute them.
Wayne and Alex.
You had a really, really nice sculpture, but you screwed it up with a horrible paint job and some egregious fabrication and wardrobe decisions.
All right, so who is going home tonight? The person going home tonight is Troy.
Unfortunately, even though a lot of things weren't right with the design tonight, we felt that the biggest letdown was the facial sculpt.
Troy, I'm sorry, but you have been eliminated.
The rest of you are safe.
You can head back to the makeup room.
I just want you to know that this one experience does not define you.
So I'm hoping that we do get a chance to see some of your work down the road.
Thank you very much.
Troy, it's been great having you here with us.
Can you please head back to the makeup room and pack up your kit? - Thank you.
- Thank you.
Good luck, Troy.
This competition is no joke.
You have to be on your A-plus game, especially with the artists that are here.
Going home, guys.
Oh, man! Dude! Oh, you can't go! I tried my hardest.
I did the best I could.
I worked my butt off.
So I can't say I have any regrets.
I know I have a lot to learn.
It's just more motivation for me to get better.
Face Off is back for our biggest season ever.
will take the ultimate plunge in a competition unlike any other.
That's just freakin' crazy.
They'll face breathtaking challenges.
Your challenge is to create a Goblin King.
But wait, there's more.
She has some kind of crazy twist.
- Bioluminescence.
- Wow.
- Create a werewolf.
- This is gonna be awesome.
- An original giant character.
- Oh, my God.
- They went big.
- It's freaking cold.
- Unbelievable deadlines.
- Go, go, go, go, go, go, go.
Fuck.
- I can't do this shit.
- Take it off.
- Just take it off.
- I'm sorry.
Oh, my God.
It's a disaster.
Some of the most talented artists in Face Off history.
I'm really blown away.
Along the way they'll come face to face with industry titans.
You guys really pulled it off.
It's a great silhouette and a great first impression.
But to come out on top, they'll have to impress our award-winning panel of judges-- Ve Neill, three-time Oscar-winning makeup artist whose work includes Beetlejuice, The Hunger Games Catching Fire, and The Host.
I think you did a great job.
Glenn Hetrick, cutting edge makeup artist on CSI New York, The Hunger Games Catching Fire, and costume designer for Lady Gaga.
I'm pretty thrilled with this to be honest with you.
And Neville Page, creature and concept designer on Star Trek, Green Lantern, and Tron Legacy.
It's fantastic.
In the end, only one will win the opportunity to be a guest lecturer at Make Up For Ever's academies in New York and Paris, the all-new 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Welcome to Face Off.
Our contestants have just arrived in Los Angeles and are on their way to meet me here on the beautiful Queen Mary for their first challenge.
My name is Alam, and I'm originally from South Korea.
I recently graduated makeup effects school.
I know the other artists may have more experience, but I know I have a lot of creativity, and I'm passionate.
My name is Michael.
My brother is Matt Valentine from season two.
Being here means I finally broke the barrier so people will see I have talent on my own.
I'm my own person.
I want to make a name for myself and get out of his shadow.
I'm Wayne.
I'm a self-taught artist.
I was awarded the Dick Smith scholarship legends of makeup.
It was a $10,000 scholarship for cinema makeup school.
Winning Face Off would be huge to me.
It would make my dreams come true, because I would like to have my own special effects shop within about five years or so.
- Hi, how are you? - Hi, I'm Alex.
How are you? - I'm Wayne.
Nice to meet you.
- Wayne, nice to meet you.
I've been working in special effects for approximately ten years now.
My husband and I have a company, and we've done everything from music videos to TV shows.
Isn't this place, like, haunted? I think so.
Hi.
Meagan.
I do beauty.
I do high fashion effects.
I also do hair.
My ultimate goal in the effects world is to get to the status of Ve Neill.
I hope you don't get mad when I win.
No, I'm joking.
My name is Eric Fox, and I make monsters.
I've worked in indie films for over 16 years.
Specialize in horror.
Specialize in everything that normal people don't wanna touch.
When I walk away with that 100 grand, I can actually be able to provide for my kids, my wife, the way that I should.
Got another one.
Hi.
Katie.
I currently freelance as a makeup artist.
I grew up in a small coastal town, and I was kind of like a little rebel.
My dad was an artist.
He passed away due to cancer.
I get a lot of my creativity from him, so to think, if he could see me here, he would be totally blown away.
- Anthony.
- I'm Autumn.
As all the contestants are walking in, I notice right away that we are all different.
I mean, we obviously have, like, jocks here with the goth kids.
This is definitely an interesting group of people.
Look who's here! - Oh! - Whoo! McKenzie comes walking in, and everybody goes - Hey.
- Oh.
Hey, everyone.
Welcome aboard the beautiful Queen Mary and another season of Face Off.
Is this really starting? Somebody, just pinch me right now.
Once upon a time, this was the grandest ocean liner in the world, carrying Hollywood royalty and true royals like Queen Elizabeth.
That brings us to your first foundation challenge.
From Shakespeare In Love to Alice In Wonderland to Cleopatra, Hollywood films are filled with an incredible array of memorable queen characters.
So your foundation challenge is to select one of these crowns and use it to inspire an original queen character that shows us who you are as an artist.
I'm going back and forth from McKenzie to the crown I want.
Because this is the very first chance to showcase what I can bring to this competition.
The stakes are huge here, guys, because the winner will earn immunity and cannot be eliminated from this week's spotlight challenge.
Hell, yeah.
I want to win immunity so bad, because, at the end of the day, who wants to be safe? Everyone does.
Before I begin, I'd like to introduce you to your judge for today's challenge.
He is an Oscar and nine-time Emmy award-winning makeup artist.
Please say hello to my dad, Michael Westmore.
Holy crap.
This guy is a definite pioneer in the makeup effects industry.
I am so excited.
Thank you so much for being here.
- Pleasure.
- What you guys don't know is he's not only your judge for this foundation challenge, he's also going to be your mentor for the season.
Oh, yeah! - Wow.
- That is cool.
- So cool.
- He'll be coming by the lab each week to give you advice and share his years of experience to help you make the best creations possible.
The one and only wonderful Michael Westmore.
That definitely takes my breath away.
Being mentored by Michael Westmore will be amazing.
I'm gonna have the creative insight that he's had for all these years.
I'm looking forward to it too.
What are you going to be looking for from these guys today in their makeups? Well, the makeup and the crown must complement each other and tell a story.
I want to see the both of them really working together.
All right, let's bring out your models.
You have a huge selection of wardrobe and accessories to help create your characters.
And you've got two hours to complete your makeups.
On my go, grab a crown and get started.
Not yet, not yet! Your time starts now! Damn you.
Wow, that sucks.
I really wanted the black one.
- It's crazy.
- Everybody wanted that one.
It's insanity.
My first pick actually had got taken by Alex, but I'm really happy with the crown that I got 'cause it's basically my style.
So my queen's actually gonna be the queen of lost souls.
Normally when you think queen, you think beauty, and with this I kinda want to go for the opposite.
My name's Autumn.
I'm a part-time special effects artist and full-time stay-at-home mom.
I've been working on independent films, doing lots of blood and guts and death and dismemberments.
And I would like to work on things that my child could be proud of, instead of hiding what I'm doing in the basement.
All right, relax.
Breathe.
Okay.
Okay, look up for me.
My name is Troy.
I do beauty makeup.
From my perspective in the black community, makeup is not gangster.
Where I'm from, there's not a whole lot going on in this industry.
So, as far as I'm concerned, it's my last chance.
All right, let's get a little bit of this.
She's a warrior princess whose father was murdered, so she revenges his death.
And I'm actually using a chip brush to kind of splatter the makeup onto the skin so it looks more broken up like a real blood pattern would.
- How about the queen of scars? - Ooh.
My name's Kris.
For the last 15 years, I've been teaching and working at makeup effects houses, gaining all this knowledge and experience.
Ultimately, being in this competition, I just would love to make my family and kids proud of me.
My name is Eric Zapata.
I am the youngest contestant here.
My friends that I met in film school, we decided to open up our own film production company, and we do all aspects of film, whether if it's a commercial or music video.
Glue your ear.
I picked this crown over here.
I wanted to pick something that was a little more real and organic, so right now I'm just pasting those prosthetic ears, and then grease paint so I can go back over them later on and bring it back more to her skin tone.
I picked this crown with the feathers on it.
And it immediately makes me think of a warrior queen.
That to me is a personification of myself, because in 2008 I was diagnosed with ovarian cancer.
And during that my husband left and I lost my job, but I came out of it a stronger woman.
And for the first time in my life, I'm finally doing what makes me happy.
Do you want it on top of your nose? Guys, we have one hour left! Okay.
My name's Anthony.
I own my own effects company.
When I was 16, I created my first foam latex mask.
I was tired of all the stuff you saw in the Halloween stores and knew I could do better.
I'm a very competitive person.
I think this will definitely take me to the next level.
I'm trying to create some kind of an alien queen creature.
She's gonna have a bunny nose.
Why not? We'll see where it goes.
I've worn more makeups on myself than I've done on other people.
- Oh, yeah? - Yeah.
My name is David Greathouse.
Everyone calls me House.
I had a fascination with monsters probably since the age of three, so I've spent my whole life in haunted houses and low-budget films.
I've scared thousands of people, thousands.
I chose the golden crown, and I'm taking influence from the Queen Mary ship, and there's lots of gold around us, so she's the queen of currency.
My queen, she's evil.
She lives, like, in the woods, kind of like a Halloween kind of evil queen.
And she has, like, all these injuries in her face and stuff because, like, she's been through a lot of, like, bar fights.
Man, she wasted that damn crown.
Five minutes left.
All right, everybody, time is up! Brushes down.
- Hi, Troy.
- Hello.
Hi, Troy, Mike Westmore.
So explain your concept to us.
I wanted to go more for a warrior type princess.
I also wanted to use my beauty skills as well as my effects skills.
It's a nice, subtle beauty makeup, but you selected a crown that is so ornate that, to me, it calls out for more fantasy.
- Gotcha.
- I kinda grew up in, like, unicorns and rainbows, and so I think this really reflects my kind of style.
I saw that crown and immediately thought ice queen.
And this whole room and all these costumes, it reminded me of, like, a masquerade kind of party.
Well, I think, by saying masquerade, it totally justifies - what you did around the eyes.
- Yeah.
- Nice job.
- Great, thank you so much.
She's the queen of scars, and, instead of blood, there's magical glitter.
Mm-hm.
It doesn't look like a scar.
It looks like a slash of glitter.
Give it some third dimension, so that it isn't just laying on the surface of the skin.
Whoa.
This is the queen of absent souls.
- I believe it.
- Basically, I didn't get - a prosthetic-- - You put it all together.
Yeah.
This is just pieced-- random pieces to-- I'm a very outside-the-box thinker.
- I try to - Yes, you are.
go big.
I think you've been able to put together the whole package.
Thank you so much.
She's a princess, and her mother was cast into the underworld, so now she's heir to the throne.
I was trying to keep her really young, tried to focus a lot of the attention on the eyes.
I'm not thrilled with the makeup, 'cause I think you missed the concept of trying to bring the crown you selected into her face to be able to tell a whole story.
The paint across her face is worn like a badge of honor.
I really like that.
I think it's a very creative thought.
And how does this represent you as an artist? I've been through a lot of trials and tribulations in my life, so I love to create my inner strength and put it into a makeup.
Well, I think you did that.
I think you were very successful in doing it.
I love playing with color.
I'm a painter, so that's kinda why I tried bringing as much color into her as much as possible.
I think you've done such a good job this could actually shoot on film.
Oh, thank you.
I am so humbled and taken back and almost geeked out to the fact that he said what he said.
But looking around and just seeing for the first time what everybody's capable of and trying to measure up how mine compares with everybody else, some of them are really beautiful.
I feel a little intimidated.
All right, so who created our top looks of the day? Eric F.
It was a very creative, out-of-the-box makeup that showed us who you really are as an artist.
- Thank you so much.
- Anthony your makeup was the total package from head to toe.
Thank you so much.
Thank you.
Jenna, your makeup utilized your personal strength.
It was very subtle and well applied.
That's a real honor.
Thank you.
Okay, dad, who is the winner of this foundation challenge? The winner is Coming up - Fuck.
- Oh, my God.
Oh, my God.
This is looking like sabotage.
I'm really blown away.
Okay, dad, who is the winner of our first foundation challenge? The winner is Anthony.
Thank you so much.
Thank you.
Whoo! Good job.
Yours was the only piece I think that could be put on film and literally work.
- Thank you.
- Congratulations.
I can't believe it.
I'm coming out of the gates with immunity.
Just means that I'm not gonna get kicked off this next challenge, and that is huge.
All right, why don't you guys go check out your new house? I'll see you tomorrow for your first spotlight challenge.
Thank you.
- Oh, my God.
This is awesome.
- Wow! - This is cute.
- Sweet.
Oh, my God.
Wow, this is where we're gonna live? I'm super stoked.
- Wow.
- Bigger room here.
- Awesome.
- Whoo! - Check at the view.
- The house is super cool.
Now I wanna see the rest.
There's just a room that's got pictures of all the past contestants.
And just knowing that you're gonna be one of them on that wall one day.
It's beautiful, 'cause it's on top of this big mountain, and you have this beautiful view.
- The winner has to toast it.
- All right, guys.
- This is gonna be an adventure.
- Here, here.
- Cheers! - To Face Off, guys.
To Face Off.
The morning of the spotlight challenge, we're walking down the street, and we see this beautiful cathedral.
Amazing, amazing architecture.
And I'm so excited.
I'm thinking, what could the challenge be? Wow.
Welcome to St.
John's Cathedral.
This masterpiece was built in 1925 and is one of the most recognizable examples of gothic-style architecture in the city of Los Angeles.
It's gorgeous.
Now, not only are cathedrals a place of worship, but they have also historically been the place where royalty are crowned.
Your first spotlight challenge will start right where we left off.
You've already created a queen.
Now it's time to make your king.
However, this is no ordinary king.
You'll be making a mythical creature featured in films like The Hobbit, Labyrinth, and even the Harry Potter series.
Your spotlight challenge is to create a Goblin King.
Yes.
Many things are running through my mind.
Goblins are obviously very scary creatures, so I'm really getting excited.
But what would a king be without his kingdom? The ancient world shown on this map has been divided into geographic regions.
Your Goblin Kings must be physically influenced by the lands that they rule.
You're going to be working in teams of two.
Your teams have already been randomly selected, and they are Jenna and Eric F.
Me and Jenna were top looks in the foundation challenge, so I know we're gonna nail this.
Michael and Troy.
Alex and Wayne.
Alam and Kris.
Anthony and Meagan.
In my mind it's, like, really great that I'm working with him, because he is an amazing painter, but at the same time he has immunity.
Katie and House.
Eric Z and Autumn.
Will you please go ahead and stand next to your teammate? Team one, you're up first.
- Desert.
- Team two.
Ooh.
- Volcanic.
- Alex and Wayne.
Swamp.
- Alam and Kris.
- Our choice is the forest.
Anthony and Meagan.
- Definitely the mountains.
- Arctic.
Jungle.
And before you leave here today, I want you to take some inspiration from this incredible cathedral and get started on your sketches.
When you're done, head back to the lab, select your models, and get to work.
Good luck.
I think he needs a staff.
He needs a staff and his tunic will be like his cape.
Yeah, that'd be cool.
Yeah, yeah.
That'd be awesome.
Me and Troy sit down to sketch, because the first step in creating any makeup is to get a good, solid design.
We need dark black around the eyes and black inside the eyes.
That'd be creepy.
Our concept is a volcanic dark king who doesn't have a kingdom, so what he does is takes over other kingdoms.
That looks pretty cool, maybe for some armor or something? Right now we're just working on overall visual concept.
We're going for a very dry, emaciated look.
Lots of sand textures.
- Very heavy cracking-- - Cracking.
We are doing the mountain Goblin King.
There's so much you can do with mountains.
There's such an aesthetic about it.
And I'm thinking about how his heart is made out of stone and he's so evil that it's just consuming him and turning him completely into stone from the inside out.
Our Goblin King is the forest.
He's going to be a wood texture with a pine tree beard.
Kris really know what he's doing.
He's been around, like, long time, and he comes up with this really good tree-looking face.
So, like, why don't we do branches for a crown and wood arms? Love your sketch.
I wish I could draw like that.
What rules the swamp is usually alligators - and crocodiles-- - Exactly.
We're both from Florida, so I think right off the bat that we knew what we wanted.
He's gonna be this gator king of the swamp, so he's gonna have a lot of, like, scale and a lot of texture to him.
Like, even if we did, like, some type of fin - that was webbed around it.
- I like that.
All right, guys, that's time.
Let's rock this.
We leave the cathedral, and we can't wait to get to the lab.
- Oh, my God! - Whoo! Wow.
Walking into the lab, I feel like a kid in a candy store.
- They have everything here.
- I'm stoked.
- I love Make Up For Ever.
- Yeah.
Lifecasts.
The lifecast is a stone copy of the model's face, and first thing we have to do is choose our models.
We're doing a wood creature, so we pick Maleek because he has a nice dark skin tone like wood.
Our concept of a Goblin King is to make him out of wood, very tribal, kind of like a tiki warrior.
Nice to meet you, Tim.
We only have five hours.
I'm gonna start laying the foundation of wed clay on this.
The next step to creating a prosthetic is putting clay on a cast of the model's face.
Do you think this should all be one piece or two pieces? - One piece.
- One piece, okay.
Our plan of attack is sculpt the face, sculpt the chest today.
We'll need razor blades to start shaving down icicles.
Yeah, yeah.
The concept that we're going for is that he's kind of this, like, decaying king of this ice kingdom.
The first thing I start doing is start hacking away at all these foam tubes that we're going to turn into the icicle hands.
And house begins sculpting the face, and he's really fast.
Immediately I'm sculpting it in mind for it being a silicone appliance, because it needs the icy translucency that silicone provides.
I'm gonna get started.
Okay.
Fuck, dude.
- Damn, I'm sorry.
- Oh, my God.
He drops it.
There's not, like, three casts back there that we can work on.
This is the only one.
Fuck.
Oh, my God.
Oh, my God.
Oh, my God.
- Oh, my God.
Oh, my God.
- Okay, I can fix this.
It's all good.
Anthony has immunity, and he broke our form.
That sucks.
And it could be my ass that's going home.
I'm sculpting the chest, and we're adding some nice pecs, which I was having some difficulty with What I wanted was a full front picture of somebody's body, that's what I wanted.
Where is Beefcake, man? - Yeah.
- He's, you know, take out his shirt for a sec.
Beefcake is Wayne.
I believe he was a football player.
He is very muscular He is like your dream beefcake.
That's one studly dude.
I'm gonna get started.
- Fuck, dude.
- Damn.
So we only get this one cast, and Anthony drops it.
- Such an ass.
- I just totally did not mean that.
And it's the nose that he broke.
This is so bad.
It's good.
I can fix this.
He's gonna have to handle it.
I can't-- I have to walk away.
I can't believe he dropped it.
- Fuck.
- What happened? He dropped his life-- the lifecast.
It's 'cause he has immunity.
I told Meagan that would happen.
All I'm thinking is this is looking like sabotage.
Fuck.
In this moment, I can't panic.
I can't think about anything else other than fixing this nose.
So I immediately glue that big chunk to his nose, and I start sculpting the other side with palmer's epoxy which hardens in about five minutes to match his form the best that I possibly can.
- That looks good, Anthony.
- Thank you.
Told you I'll fix it.
I fixed it, but it sets us back about a half hour.
It means that I have to go and sculpt that much faster to get this face done.
That's looking good, man.
I know I wanna sculpt the face.
I have Eric start sculpting out the arms.
- This is just the wrong angle-- - Right, right, right.
Look, the muscles, they go this way.
I'm struggling a little bit because I feel like I'm a little underestimated by my partner.
Yeah, you actually can cut that whole piece off right here.
That's gonna be way thick.
Eric is wonderful to work with.
He has no pride.
He's completely humble.
- You're such a good boy.
- What am I, some dog here? It's going very well.
I think we're the first ones to be making our molds.
- Yep.
- After your sculpture is done, you make a mold.
You take a cement-like substance, brush it onto your sculpture.
Once the substance hardens, you can clean out the clay and then fill it with your foam latex, silicone, or latex.
That's what happens when you put two bad asses together.
Hell, yeah.
That's freakin' incredible.
Just all that, like, dude, look at that.
Thanks, man, that means a lot.
In the time that you did it.
The day's almost over, and right now everything's going really well.
Looking around the room, like, yeah, a lot of people have a lot of, like, hands and feet stuff going on, but our sculpture is definitely full of detail that they don't have.
Time's up everybody! It is extremely intimidating that Eric and Jenna are the only team that have their molds ready to go.
It seems like it will take a team of four or five people to do the work that they're doing, and there's just two of them.
Yes.
So it's day two in the lab, and we have a lot to do.
It looks so freakin' cool.
- Like my six-pack? - Yeah.
I've been working out.
Eric starts working on the skull that's gonna go on the crown, and I start sculpting in wed clay the skin.
Our plan of attack, since we have so much skin to cover, we can pour up large sheets that we can wrap around the actor to give the full body that really cool sandy, cracked desert floor look.
Yeah! That looks great.
Thank you, thank you, thank you, thank you.
What if we made the crown like a volcano? Our king needs a crown.
You can't be a king without a crown.
And I assume-- what's a volcano? Volcanoes are pointy-shaped, so from there I try to figure out, how am I going to make this crown? I'm gonna get some silicone.
This is a risk doing this makeup out of silicone.
The weight of the silicone might be too much for the makeup.
Foam latex is the tried and true material.
Silicone, when done right, can be stunningly beautiful, but do it wrong, and you may not have another chance at it.
Hey, guys! We're here to do a walk-through and let you get some tips and advice.
All right.
Having Michael Westmore as a mentor is awesome.
It gives me confidence knowing that I'm going to have someone like him guiding me through this process.
We're doing a headpiece, a chest piece, and an arm as well-- - And a face.
- It's going to look like there's a mountain coming out of his heart.
- Some rocks forming.
- You've got a great direction.
One thing that's gonna be very important here is your paint job.
Do a little sample before you jump into something.
You don't realize it until you really take a rock and you look at it and you realize how many colors are really in there, light and dark.
- Thank you.
- This is the Goblin King of the Arctic, and this is a shot of his face.
His face will be in silicone.
Are you planning on coloring it a certain way? Yeah.
Whites and blues underneath.
A lot of intrinsic painting.
Ice has so much depth and luminosity to it.
- You might try a little thing-- - Like mixing it just right in.
With glitter or if you have something small like a fish scale.
We are going almost like a tiki jungle warrior.
We have him all carved out of wood.
I have knots for ears that go up into points that are almost like a crown.
It looks great here in clay but once it gets painted, all of a sudden, it could flatten out.
Any texture we don't achieve with the sculpture, we should go - in with paint and just-- - Yes.
Try to create as much depth as possible with paint.
Yeah, yeah.
A brush that has nice long furrow on it.
Okay.
We're incorporating elements that you would find in the desert such as, like, tumbleweeds-- - Animal bones.
What are you gonna use for a crown? For a crown we're actually using part of the tumbleweeds, and, when it's tied in, it'll have, like, a really cool, like, gold crown effect.
- Excellent.
- He's pretty much wood, and we're gonna build a stick crown for him.
Wow, very nice.
When they walk, though, these are going to flatten.
I'm sure they'll probably move and bend a little bit.
It would help putting a wire coat hanger down on a few of 'em maybe, 'cause a few of 'em might just help the rest of 'em as a bridge.
That's a good idea.
He's a king with no kingdom who also hunts other kings.
- Oh.
- He's conquering the other kings in this challenge in a way.
It's almost a crown, but it's like a big volcanic-- volcano on his head.
And then possibly give him a shield as well.
You've picked a character where you have a lot of detailing that you have to work on.
Yeah, we wanted to kinda keep it pretty simple as far as how many pieces we actually had to apply.
- Mm-hmm.
- So we can concentrate the rest of that time on the actual paint.
Good.
- Wow.
- Oh, wow.
I love the protrusions that you've carried through from the back here into the mold here, the alligator theme and the alligator skull.
Color-wise, you gonna bring any - We're going - Greens into that? Very reptilian.
Yeah, we're going-- the greens.
- Real alligator.
- Yeah.
And, you know, I think it's a good idea too.
- Yeah.
- As much painting as you can do, it's gonna be important.
What are your thoughts overall with everybody, first off? Overall, I think everybody's doing a great job, - although I have a favorite.
- Mm? With the alligator makeup.
They're doing a beautiful job doing it.
I'm concerned about how they complete their detailing and their painting.
Okay, is there anybody that you are definitely concerned about? - Mostly is the Arctic.
- Really? Yeah, any time you get into ice and snow, you could run into problems.
It has to have a sheen to it.
It has to sell a different-- a whole different texture.
That's interesting.
Then we have jungle.
Wood always concerns me, because it really has to look like wood, or it doesn't.
So their problem again is going to be in the paint job.
- Mm.
- To be able to sell the idea that it is a piece of wood, not just a brown fantasy character.
All right, guys, it's looking great! - Good luck tomorrow.
- Thank you.
Bye.
It's moving.
It's time to open the mold.
All the way out.
I wanna take it real slow.
And I notice that it's kind of sticky.
- Hold it there.
- Uh-huh.
I'm holding the head cast, and he's pulling the negative.
I'm really nervous.
Not sure what's going to happen.
Finally, the whole thing just kind of comes off, and it's this gorgeous ice blue silicone prosthetic, and it turned out exactly the way that we wanted it, and I'm like, "thank God.
" - We have a piece.
- Yes.
I want to do a latex bald cap, and there aren't any.
How the hell am I gonna build my own friggin'-- So I use the mannequin head.
I'm, like, I'll just build a latex bald cap.
I'm painting it on-- Fuck.
It's running off.
I'm frustrated.
I just walk away.
They don't have fucking latex bald caps.
- Make one.
- I'm tr-- can't.
Autumn has a meltdown about the bald caps, and I need her to come down from that very quickly so that we can get what we need done.
It won't fucking set up on the fucking mannequin.
I'm, like, furious over it.
Right now, let's worry about getting these open - and cleaned up.
- Yeah, exactly.
'Cause I don't know how we're gonna put the crown on, though.
Autumn's freaking out, and Eric Z's cool as a cucumber.
Somebody on the team has to be the voice of reason.
That's my partner! All right, so we need to start painting these babies, don't we? We got our latex port up.
We're ready to start base coating.
Jenna! So I look up, and I'm tripping out because it's just too dark.
This isn't the color that we originally planned on.
Jenna! That's really dark.
I'm just getting some more depth inhere.
We have less than half an hour.
After all this hard work, I'm worried this could be a complete disaster.
So day two is almost over, and I start painting our skin pieces, make 'em a little darker, and then I hear Eric go, "Jenna!" Jenna! I run over to the booth, and I'm kinda panicked.
- That's really dark.
- I know.
I'm just getting some more depth in there.
In my opinion it's not too dark, 'cause I know we have to go darker to get the look we're wanting and the definition in the cracks.
It looks like our undertones.
I'm worried at this point.
We have less than half an hour.
- All we can do is forge ahead.
- It'll be okay.
Yeah.
I see it working.
I think the basecoatark was a good idea.
Yeah, no, it was great.
You know, after final inspection, you know what, she got it right.
- I'm stoked.
- I was worried, though, 'cause you had this look on your face like, "uh-oh.
Not what I wanted to do.
" Jenna has some great points, you know.
It needed to be a lot darker so, when we brushed the lighter color over, it's just gonna pop a little bit more and add a lot more contrast.
- This is all teamwork right here.
- Yeah.
Hey, brushes down, guys.
It is time to go home.
Our hands stick together.
Tomorrow is huge.
We might have all of our pieces done, but, if we don't get it applied, I don't know.
At this point, it's anybody's game.
Wow, that was a long day, wasn't it? When we get back to the house, everybody's feeling tired.
Michael and I sit down and have a conversation so we both are on the same page.
Painting is gonna be the main, main focus tomorrow.
I think we're sitting pretty good, I think.
- I think so too.
- Troy tells me he's noticing all the other artists have so much going on.
And that's what we didn't wanna do.
We didn't wanna have so much going on that we have no time for it.
Everybody else has, like, a million pieces.
You're gonna run out of time to paint them.
- Yeah.
- I think a few people might be in over their heads.
I definitely think we've got an advantage.
I feel like, you know, that my brother's given me this knowledge, and I'm gonna use it.
I trained side-by-side with my brother, and I gotta take any advantage I can in this competition.
All right, man.
We're gonna do it.
- Yeah.
- I'm nervous.
I think right now everyone's stressing more than they have to.
We have, like, a lot of, like, applying and stuff, and we're debating whether or not to just apply the actual face in the one hour last looks.
Personally, like, me and Anthony are gonna do that last.
Everyone seems really confident and everything, but I just wanna be, like, "don't you guys realize "that someone's gonna get kicked off, and it could be you, it could be me, it could be anyone?" So to leave after three days would be probably the worst thing ever.
- Nice.
- Oh, yeah, it's thick.
So it's application day.
We have four hours in the lab, and we still have a lot to do.
Like, Wayne wants to now fabricate these cuffs, but now I'm starting to get nervous that we might run out of time with this.
Hi, nice to meet you.
- I'm Alex.
- We're literally gonna just have you sit there for the moment, 'cause we're gonna start pre-painting stuff.
Right now we need to paint.
We need to make sure everything's pre-painted before it gets on him because I really don't want him sitting in the makeup longer than he needs to.
It's nice.
Kris and I have a lot to do.
We have to make a crown.
We have to make the staff.
So, ah, I'm panicked.
I needed to get my shield done.
I need to get my staff done, the crown done, and the costume.
- How you coming along, Troy? - Good.
Putting-- laying down the wire, and I'm gonna spray orange all over it, and should be pretty quick.
Troy's still over there painting the face and chest.
He's a little more relaxed than I feel that he should be.
And now I'm starting to sweat, because Troy still hasn't picked up the pace.
- It's like one super edge.
- Yeah.
I'm not happy with the application around the lips.
Some of the edges on it are a little thick, so I'm having a bit of difficulty.
Let's see where that other piece fits before we start gluing it.
We are still applying the piece when I'm looking around, and I see everybody has paint, and we're the only people that don't have paint on our model yet.
- That's good.
- We need to put some kind of paint on this guy before we leave.
I do the hands and the feet now, right? Yeah, yeah.
'Cause I wanna do so much detail on him, you know what I'm saying? We're planning on painting a lot of wood grain in and hoping we have time to really pop out the detail on this.
Dude, an hour's like nothing, man.
That's kinda scaring me now.
I'm a little nervous because we don't have time for what we have planned.
Troy, within 30 minutes we can start getting this on him, you think? Yeah, I think so.
Um, volcano guy right over there with the 39 minutes left, and he's got a chest on.
We're almost done with the four hours at the lab, so going into last looks really all we need to do is touch up around the edges, finish painting his actual body, try to get our contacts in, also working on distressing the teeth.
That's a lot to do, but I am feeling like we can get it done.
Everybody, we got two minutes! Right now I'm feeling kind of nervous because we still don't have any paint on our model.
That's time! Grab your stuff, let's go.
We're gonna have to rely on last looks to really pull this together.
I mean, we're fast, but I don't know if we're that fast.
Coming up - You did an exceptional job.
- Oh, my God.
I really loved it.
What you just said, that is not okay.
We only have an hour in last looks to pull this together.
As long as we can get the paint on there quickly, I think we'll be okay.
I'm gonna worry about the mouth and the eyes.
We are trying to get the mouth to stay down, and it's not working.
The area around the mouth looks like a horror show, - and not the good way.
- That's not gonna stay on.
Putting on the crown is a nightmare.
Oh, lord.
The last thing Michael and I want is for the model to walk on stage and his crown and wig fall off.
After this wing, will you mix the base colors? Yeah.
- Yeah, I'm gonna mix the colors.
- Sweet.
Wayne's moving down the back piece, but, dude, we gotta get painting.
At this point, I just think we have to get some kind of color on him.
I don't know how much time we have left.
Is there a clock? It's a mad race, and time is going so fast.
Five minutes.
Way faster than anything I had ever imagined.
Time's up! - That's it.
- I'm sweating bullets.
This is really not the product that I wanted to show.
Welcome to the Face Off reveal stage.
Tonight one of you will be eliminated.
Say hello to your judges-- Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick Good evening.
- Hello.
- Hi.
Three-time Oscar-winning makeup artist Ve Neill Well, gang, welcome to Face Off.
Thank you.
Creature and concept designer Neville Page - Hi, guys.
- Hi.
And joining our panel this week, he is an iconic actor, starring in some of Hollywood's biggest franchises including the Indiana Jones films and The Lord Of The Rings trilogy.
Please give a warm welcome to John Rhys-Davies.
To you.
John, thank you so much for being here tonight.
Thanks for having me.
I loved him in Raiders Of The Lost Ark.
He's worked on several films where he's worn prosthetic makeup.
It's really awesome that he's our guest judge.
So, guys, this week your spotlight challenge was to create a Goblin King physically influenced by the land that he reigns over.
Let's see what you've come up with.
I could see the detail from where I'm standing so I'm happy.
It looks beautiful on stage.
I love it.
I love our makeup.
I'm excited.
This thing looks scary.
No matter what the judges say, I'm happy with my work.
Maybe we could actually wing this and win it, because it looks pretty cool under these lights.
I'm just really nervous that the hat's gonna fall off.
That would be such an embarrassment.
I'm nervous.
I'm really nervous.
I wanna win this challenge.
I think he stands out.
I think he's shimmery, he's icy, and I think we have a good chance of winning.
I am terrified at this point to see what the judges are gonna say.
Hopefully it's good.
I don't know.
There are a couple areas on the inside of the arm where you can see a little bit of skin.
I'm hoping the judges won't notice.
Judges, why don't you take a closer look? Can you try to emote through the makeup for me? Scrunch your face up.
I want to see how you read through it.
It looks really thick, but it's not.
- Oh, look.
- He's got a bug.
He's got a bug.
Some of the other characters have such a big presence.
Our character might have a little more of a simplistic look, and I'm not sure that that's what the judges are looking for.
- Did they look at the shoulders? - A little bit.
This is cool.
I like the way they did all this.
That's even, like, gold wire on that.
- What nice detail.
- Very impressive.
Yeah, things look great from far away in the dark, but, once you're up close poking at it, that's a whole different story.
It's a fine sort of lizard-like effect, isn't it? Yeah.
There is some nice little stippling and stuff.
It just doesn't read because I have not seen a gator this color, have you? I feel pretty confident.
I think we have a very strong concept.
Why is he all covered up? I don't understand how this face is supposed to transition into this.
This looks like a hat.
It's the top of a volcano, and that's his crown.
I notice Glenn's just picking this thing apart.
I'm utterly confused by this.
I'm terrified.
I'm not shaking, but on the inside I'm screaming.
If you're on Twitter, use #FaceOff to tell us what you think about tonight's designs.
I don't understand how this face is supposed to transition into this.
- This looks like a hat.
- I noticed Glenn's just picking this thing apart, and I'm terrified.
I'm not shaking, but on the inside I'm screaming.
- Do you have any teeth in? - Yes.
Oh, you didn't see those before.
- Very good.
- That's creepy.
Oh, good.
The way that that head goes up into it, it's much better up close.
Could you bend your head a bit? Don't strain your knees, my boy.
You'll need them over the next 70 years.
If anything happens with this creature, it falls on me.
I'm the one going home.
- God, that's a lot of work.
- Yeah, no kidding.
I wanna see what this looks like if the grass wasn't there.
I'm really interested in seeing what that structure looks like if they hadn't made this decision.
Stressing out, it's not gonna help me, so I'm trying to be happy.
And I am happy because it's crazy that I'm already here.
John, you were exposed to some pretty amazing fantasy kings as part of The Lord Of The Rings films.
How do you think things turned out tonight? Extraordinary.
Just extraordinary.
Far beyond what I was expecting to see.
The judges have scored your creations.
Let's find out what they thought.
Kris and Alam, Katie and House congratulations, because you are safe and can head back to the makeup room.
- Nice.
- Thank you.
Thank you.
So the rest of you were the best and the worst of the week.
The judges would now like to speak with each of you to learn more about your work.
Anthony and Meagan, please step forward.
Before I begin, I want to say to all of you, I'm really blown away.
The work is just exceedingly high.
So well done to all of you this week, I mean that.
So to start, please tell me who was responsible for which aspects of this makeup.
I handled the sculpting of the head, the face, the staff, and Meagan did the-- - Shoulders.
- Shoulders.
The chest piece that's kinda hidden.
And we applied and painted together.
From far away, I had serious concerns about the tonality of the makeup.
The paint job up close, very happy with.
And I love that there's some subtle shifts in tonality on the half of face that's more human-esque.
I'm extremely impressed with this piece.
- Thank you.
- Thank you.
The ability to sculpt natural things such as rock, it's difficult thing to pull off.
You did an exceptional job.
The painting of it is executed so well, it looks like the real stuff.
- Thank you so much.
- Thank you.
I thought this was just wonderful.
I love the geology.
I think the execution is good.
I would be very happy to wear that makeup.
I think it's-- well, no, let me rephrase this.
No, no, never will I wear a prosthetic makeup again, but-- but were I young and mad, I'd be happy to be seen in that.
Thank you so much.
That really means a lot.
Anthony, Meagan, thank you very much.
- Will you please step back? - Thank you.
Thank you, guys.
Thank you.
Michael and Troy, will you please step forward? Tell us what is going on with this character and whose idea was what.
He's a volcano.
You know, a volcano's generally ugly.
They erupt.
They leave destruction in their path.
I did all of the fabrication as far as the costuming and the top, and then I sculpted the chest piece and the shoulder.
I handled most of the paint work.
I also sculpted the face, also painted the chest piece.
All right, can you open up the coat so we can see the chest? I've gotta tell you something, sorry to say you covered up the best part of your makeup.
I think the face is just a big charred, scratchy-looking thing, and this headpiece is like a clown hat.
I don't think you did so well on this, guys.
You have a very specific aesthetic happening just in silhouette that feels more like a witch.
I like the staff, actually.
It's pretty cool-looking.
It clearly is the product of two guys dividing their labors, working apart, and then bringing them together and going, "whoops.
" It's black and gray with a little bit of mishmash of yellows and crimsons.
It doesn't work.
Michael and Troy, please step back.
Eric F and Jenna.
First I wanna ask you, on a scale of one to ten, how you think you did in this challenge.
- We probably did an eight.
- I would say an eight as well.
Just because it was the very first challenge.
We are just learning the shop.
That's great, because I think that that's very accurate.
There's some exceptional details in the sculpture.
I really like the sort of hieroglyph.
It very simply harkens towards an Egyptian theme.
It ties in well with the desert.
What I see going on with the eyes sculpturally, definitely asymmetrical.
There is a very fine line between crooked and purposely asymmetrical.
Interesting, unique, cool to look at.
When he walked out and I saw the head, I'm thinking, "oh, my God.
" I really loved it.
And then when I got up close and I saw a lot more of the details, I liked the fact that you've tied all of those details together with that gold wire, and your gold paint, the gold nipple ring.
All those details really finished it off for me.
It really is a very comprehensive work of design.
The lack of water in that parched skeletal desert comes through wonderfully.
Eric, Jenna, can you please step back? Oh, my God.
Wayne and Alex.
What was the original idea behind this? We're both from Florida.
We picked the swamp, so we wanted to come up with the gator theme just because it's the king of the swamps.
Is that face a gator color? I'm not overly familiar with your gators.
The last thing we wanted to do was put a nice cream-colored dry brush over the front of the face, but we really just ran out of time.
What you just said, that is not okay.
I'm perplexed by how you could have such a fundamentally sound concept and have succeeded so well sculpturally.
Not leaving yourself enough time to paint it was a horrible decision.
Who did what in your character? I sculpted the face, the belt piece, and then the little transfers that we did on the feet, and then the transfer that went down the back of the head with the scaling.
And I sculpted the cowl and made, basically, the chest piece.
First of all, your chest piece looks like a psychedelic washboard.
Your proportions are completely off.
His head is so big.
If you were gonna put a head on him this big, you should have built his shoulders out so that he was very robust.
The sculpt of the head, it's such a good design.
How much time did you give yourself for paint? It's probably 40 minutes.
- 40 minutes? - Oh, man, guys.
You must in future balance your time better so that you don't give yourself so little time to add that polish.
Wayne, Alex, could you please step back? Eric and Autumn.
Please start off by explaining your concept.
We didn't really get to pick.
We were the last to get a decision, so we got stuck with jungle.
I came up with the concept, and Eric sketched it out beautifully, and I based the sculpture off of his drawing.
I'm really happy with this thing.
I think that you did a great job.
Who did the arms? - I did.
- I think it's really cool that you actually incorporated what appears to be sort of a musculature, but you did it so that it looks like it's in a tree form, which is really great-looking.
Choosing to do knots for ears, another great choice of figuring out a feature on the tree that's going to work for the metaphor of ears.
That is a fantastic head.
Eric and Autumn, thank you very much.
- Thank you.
- Please step back.
Thank you.
Okay, the judges have heard what you have to say.
If you'd please head back to the makeup room while they make their decisions.
So let's talk about the looks that you liked the most.
Why don't we start with Anthony and Meagan? The makeup itself was exceptional.
The transition and the colors on the more human side of the face were really thrilling to me.
I was impressed with the fact that they sculpted the rock and had it look like rock.
- Looked like rock.
- Organically accurate.
Yes, it was.
Yeah, that's hard.
I think it was terrific.
All right, let's move on to Eric F and Jenna.
It's one of my favorite makeups because there was a lot of attention to detail.
Right down to the little gold wire that they used to tie all the different things together.
That's really a testament to the fact that their teamwork was exceptional.
What I liked about it was that you could tell the features from a distance.
You know, they really had used contrast and shade to make the features stand out.
Okay, let's move on to Eric Z and Autumn.
I loved this piece.
I loved the head sculpt.
I loved the design of the head.
I thought it was such a beautifully executed piece.
The tree form, sculpturally, follows the deltoid down into the tricep and the bicep, and that's really brilliant.
All right, let's move on to some of the looks you liked the least.
Why don't we start with Michael and Troy? Everything that they chose was a mistake right down to the best thing they did being covered up.
Even the chest sculpture wasn't very good-- No.
But it was better than the face.
It is literally just lines carved on the shape of the actor's lifecast with red underneath and black on top.
All right, let's move on to Wayne and Alex.
Out of all of the times we've asked the question, "who did what?", this seems to be the single most inequitable division of labor I've heard of yet.
- She barely did anything.
- That's scary for her.
Well, I think we all loved the sculpture, but there was so many other things that were screwed up on it.
I can't even believe that they didn't get at least a base coat on it before they got here.
If they would have left themselves some time to paint, they could have been on top.
All right, judges, have you made your decisions? - Yes, we have.
- Think so.
Let's bring 'em back out.
All right, Glenn, why don't you tell us about the top teams? Our top teams tonight are Anthony and Meagan.
We thought that you did a really great job sculpting the rock textures on your makeup, and we really loved the way that you handled the transition onto the head.
Eric F and Jenna.
We really appreciated some of the finer details that you brought to your makeup.
And you certainly created one of the most complete overall looks this evening.
Autumn and Eric Z.
We're very fond of your tiki face design, and we really like the tree textures that you sculpted for the arms.
Okay, which team came out on top? Our top team tonight is Okay, which team came out on top? Our top team tonight is Anthony and Meagan.
Oh, my God.
- Thank you so much! - Thank you.
Oh, my God.
We thought that this was the best makeup out there tonight.
We especially loved the right side of the face and the profile.
- Well done.
- Anthony and Meagan, great job, but we can only have one winner.
- Glenn? - The winner tonight is Anthony.
Thank you so much.
Ultimately, we felt that the sculpt on the face and the paint job is what made this makeup a success.
Thank you.
It really-- I can't believe it.
- Congratulations.
- Thank you.
Winning the foundation challenge and then winning the spotlight challenge, I just feel so incredibly awesome at this moment.
Anthony, congratulations.
You and Meagan can head back to the makeup room.
- Thank you.
- Thank you.
Eric F and Jenna, Eric Z and Autumn, you guys are also safe this week.
Please head back to the makeup room.
Thank you.
Unfortunately that means the rest of you are on the bottom this week, and one of you will be eliminated.
Please step forward.
Michael and Troy.
There's some good ideas in the design of your makeup.
You just weren't able to execute them.
Wayne and Alex.
You had a really, really nice sculpture, but you screwed it up with a horrible paint job and some egregious fabrication and wardrobe decisions.
All right, so who is going home tonight? The person going home tonight is Troy.
Unfortunately, even though a lot of things weren't right with the design tonight, we felt that the biggest letdown was the facial sculpt.
Troy, I'm sorry, but you have been eliminated.
The rest of you are safe.
You can head back to the makeup room.
I just want you to know that this one experience does not define you.
So I'm hoping that we do get a chance to see some of your work down the road.
Thank you very much.
Troy, it's been great having you here with us.
Can you please head back to the makeup room and pack up your kit? - Thank you.
- Thank you.
Good luck, Troy.
This competition is no joke.
You have to be on your A-plus game, especially with the artists that are here.
Going home, guys.
Oh, man! Dude! Oh, you can't go! I tried my hardest.
I did the best I could.
I worked my butt off.
So I can't say I have any regrets.
I know I have a lot to learn.
It's just more motivation for me to get better.