Face Off (2011) s04e08 Episode Script

Previously on Face Off Kris's terrifying werewolf brought him to victory.
- Wow.
- Whoa.
I'm in shock.
And Autumn was sent home.
Now seven artists remain.
They'll face a harrowing challenge with a terrifying twist.
- Oh! - Aah! This is gonna be awesome.
And I've also left a little surprise for you back at the lab.
That will push them to the limit.
Whoa! It's something that we have never seen before.
You can't be in the bottom this week.
I'm very, very worried that I may be going home on this one.
Fuck.
The hands are atrocious.
Some sculptural flourishes which are quite impressive.
You have got to do better than this.
I don't want to go home.
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.
Last night was the most stressful night of my life.
Dude, I can imagine.
In the last challenge I had to stand up for myself because Autumn tried to throw me under the bus.
She's a good artist, but she just needs to change her attitude.
It meant the world that I knew you guys, you know, were behind me on that one.
Guys, listen.
No negativity.
If I can survive two team challenges with Autumn, then I can survive just about anything.
- Time to go, guys.
- Let's do it.
Yeah.
We walk down this path towards the beach and we're at the ocean.
It is such a gorgeous scene.
The waves hitting the rocks, ocean breeze, and there's McKenzie.
Welcome to Leo Carillo State Park.
This beautiful coastline and amazing sea caves have served as a filming location for movies like Inception, The Usual Suspects, and Journey To The Center Of The Earth.
Our planet is a vast place and much of it remains a mystery.
Each year, new plants and animals are being identified that seem out of this world.
Our undiscovered species are the basis for this week's spotlight challenge.
To create a new species that might live in any of Earth's ecosystems.
- Yeah.
- Yes.
Awesome.
We're making an undiscovered species that could be from the water, from the mountains, from the caves, something that we've never seen before.
So I'm immediately very excited.
Oh, but wait, there's more.
In films like Avatar and The Abyss, Hollywood harnessed one of nature's biggest secrets.
Bioluminescence, the ability to emit light.
Okay Biolumi-- whatever, I don't even know what that is.
Your final makeup must contain two unique looks.
One under normal light and a second that becomes visible only in ultraviolet light.
- Oh! - Yes.
That's awesome.
This challenge is going to be tough because you have to consider two separate paint jobs.
So it's a little scary.
This is gonna be awesome.
We can have that UV light, really pop that second image of our makeups.
It's gonna be really interesting.
I'm gonna leave you here to sketch in this unique and beautiful place for inspiration.
Oh, and I've also left a little surprise for you back at the lab.
I'll see you tomorrow.
As I'm starting to sketch it's hard for me not to think of the ocean, because we're right there.
So my concept comes to me immediately.
I'm working on a prehistoric creature, a fish-woman, sort of the link between humanity and the aquatic.
I want her very sexy, and once the luminescence hits, I think it will take on a new level of beauty.
I am working on a fish person that's been watching the human race for a while and now it's time to start making contact.
That's my story and I'm sticking to it.
He's an underwater creature.
I want it to be like he's a warrior.
And I want the bioluminescence hidden but also flowing with the stripings on his chest.
What I'm going with is an aquatic theme.
I'm sketching out a crab humanoid character, and I'm still playing with how I'm going to incorporate the bioluminescence.
Plus it's gonna have a full head sculpt and probably something on the chest.
Come on, guys.
We're all very excited to be heading to the lab to see what's in there.
Ah-hoo.
We walk in, we see this huge jungle scene.
And in front of it we see this button.
I really want to push the button.
Touch.
We're all waiting to see who's gonna be the first person to get the guts to press it and I just decide, "what the hell?" - Whoa! No! - Double elimination! Oh, shit.
This is messed up.
We see the dreaded "double elimination this week.
" I don't want to go home.
Wow.
The stakes are extremely high and two people are going home.
Everybody is freaking out but we have to just get to work.
We have five hours in the lab and today is just about sculpting.
I really want the body form sculpted because she has lots of gills all around her head and her spine.
This challenge gives me anxiety.
Undiscovered species, beautiful paint job, bioluminescent paint job, double elimination.
Trouble.
How's it going, girlie? I don't know, I keep changing it.
I'm thinking a bat creature, but plant.
It could be some kind of seaweed but I don't know.
I'm going to have to continue to work on my concept.
It's gonna have, like, plant life up here.
- I like it.
- No, you don't.
Well, it's getting there.
It's getting there.
- This is my inspiration.
- That's sick.
You can see everything inside of it.
I'd like to do an amphibian girl.
I'm going to do an underlying face piece and a silicone overlap piece.
So when the black lights kick on, you can see the bone structure and organs illuminate through the silicone, like you would see in a jellyfish.
I'm trying to do something so big, so crazy and so out there, but for me it's worth the risk.
While I'm sculpting, I'm sweating and I feel like I'm dehydrated.
It's kind of weird.
And it's getting hard for me to focus on my work.
I would love to lie on the ground right now, but unfortunately I have a lot of work to do.
Are you making a squid, Anthony? No.
It's, like, an amphibious deep-sea creature.
I'm working on the face and I'm gonna give it, like, a really cool paint job in daylight and then it's gonna have something that goes a lot further for the bioluminescence.
Once again, another kick-ass sculpture.
Not too bad.
The crab is gonna have these mandibles that the crab eats with.
He does move his jaw, they do have a little bit of movement in them so that way they're not, like, a static piece.
Dude's got crabs.
You've actually got a face in there? Yeah, there's, like, a face that was in the rocks that I wanted to translate into a makeup.
I want to let loose for this challenge.
So my creature is a cavern-dwelling tough guy.
He's a mix between an amphibian and a reptile.
That's cool, man.
I sort of played around with it but I want to see how I can get it to fit onto a makeup the best I can, you know? I really don't feel good.
I feel very nauseous.
I feel like I'm gonna throw up right now.
- What? - Why? You all right? - Like, I feel hot.
- You feel hot? I feel like I have a fever.
I have to continue to sculpt, but it's incredibly hard and this challenge is a double-elimination.
If I don't get anything done, the outcome's not gonna be good.
The room starts spinning and my head is, like, burning up and I'm, like, hot.
I feel nauseous and I have to throw up.
As I come back to my desk, Megan's not there.
So immediately I know something's wrong.
I'm so dizzy.
I'm completely dizzy.
I'm scared I'm going to go home.
Coming up Oh, man.
I don't know if I'm gonna pull this off.
Dude, I'm a fucking mess.
As much as my head wants to be in this competition, I can't be.
I'm terribly disappointed.
I have to be honest.
It's day one and I feel awful.
The room starts spinning.
I really want to focus but I can't, and I know if I don't get anything done, I'm going home.
I'm really scared.
I'm not feeling good.
I'm worried for Meagan, 'cause this is a double elimination.
You can't be in the bottom this week.
This is the worst time for me to be really sick.
As much as my head wants to be in this competition, I can't be.
Dude, I'm a fucking mess.
I have to go to the hospital and I'm terrified I'm not coming back to the lab.
- Ooh, that looks cool.
- Thanks, buddy.
I start doing some finishing details on the face.
I really want to keep this makeup simple, especially because of the double elimination.
It changes the game altogether.
This is definitely not the time to go too big.
I want to incorporate the starfish into the center of her chest.
And I want to work into the design orange and red.
So it won't just be so much green and yellow luminescent paint.
How much time do we have? We got 35 minutes.
So by the end of day one, I still have a lot more work to do.
It's just stressful, especially coming off the last two weeks of being in the bottom.
Time's up, everybody! Let's go! All that's going through my mind is, "you better not be in the bottom this time, 'cause if you are, you're going home.
" Let's do it.
I'm, like, the delinquent.
It's day two and I'm back in the lab.
Turns out I had food poisoning.
Yesterday was a complete waste of day.
So my goal today is to get the face sculpted and molded.
But I still have to figure out the concept.
I'm not feeling 100%.
I would say I'm 40%.
Oh, thanks, man.
Right away I know I have to start blocking out the cowl piece.
That's one of the biggest pieces I have to get done.
As I'm sculpting I'm always thinking about how I'm going to paint this piece to really bring this sculpture to life.
And it's kind of scary to me, 'cause I'm always pushing things to the last minute and that can't happen in this challenge.
I have to get the cowl and the chest done today, so I'm going to work on them at the same time so I can mold them at the same time.
I decide to run a latex polyfoam of my face sculpture so that I know what it looks like in three dimensions.
I can use it to sculpt the rest of my cowl so that I know it lines up properly.
Hey, guys.
Michael Westmore and McKenzie come up to do their walkabout through the shop.
It's gonna be interesting to see what they have to say about our makeups.
- Hey, House.
- Hello, guys.
So tell us about your creature.
Well, we're basing it out of the water.
Kind of a fish-human hybrid.
You know, it's really important with the paint to have some direction as opposed to just spotting it.
That's right.
'Cause, I mean, whatever you do with your non-iridescent paint, you know, should be highlighted so it pops the same thing out.
This is a painting challenge.
All right, so tell us about your creation.
Actually where I got a lot of the shapes for my character were looking at the rocks.
How are you going to end the back of this? Um, actually I'm not too sure yet.
Okay.
- I'm still-- - Working on it? Yup.
- I would keep the back simple.
- Okay.
Just so you don't waste time.
My creature, he kind of comes from the waters of the rainforest.
He's a mixture between an amphibious creature and also like a squid.
My goal is for tomorrow just to really sell it in the body painting.
The painting is going to be very important.
When they switch lights, it emphasizes what you see without the light.
- Right.
- Yeah.
I saw this thing on the beach.
It looked like it was from another planet.
So I wanted to incorporate that on this so at first it will just look like rocks.
- Like he's a cave person.
- Mm-hmm, mm-hmm.
And then when the lights go on it will turn into that.
- Oh, nice.
- Mm-hmm.
The ecosystem that it comes from is the mangroves of, like, swamp areas.
So he's gonna have crab elements.
Very nice.
How are you planning on picking up the highlights and shadows? Uh, I'll probably do some washes.
And then on the very edge, I'll probably hit it with the luminescent paints.
The initial paint job is so very important.
And then your luminescent one, just to make everything pop.
- Right.
- You know? - I'm going for ocean.
- Okay.
My inspiration is translucency.
So what I did here was I had actually sculpted out some inner organ and bone structure.
Are you going to put silicone over your latex piece? Yeah, so that when you see all the bone structure illuminate through the silicone.
- I'm going with ocean.
- Okay.
And I'm doing a female fish-being.
I want to use silicone this time, just to kind of give it more of that fish qualit - right.
- Mm-hmm.
So we can see into it.
- Is this gonna be luminescent? - Oh, yes.
- Where it will pop out itself? - Oh, yes.
Great.
Okay, everybody, we're heading out.
It's looking great.
Good luck tomorrow.
- Thanks, you guys.
- Bye.
Bye-bye.
The chest sculpture is complete.
And, it being a full chest and back, it's gonna take some time to make this mold.
My goal is to try to get this completed by the end of the day.
By the middle of day two, I'm really rushing on the hands.
They're not as stylized as I would like.
I just don't think the sculptures look that great.
But I'm running out of time, so all I can do is hope for the best.
I'm looking around the room.
I'm noticing there's some really great pieces.
- Pulled right out.
- Look at that! Whoo! I'm starting to worry about my creature, considering mine is so much bigger and crazier.
I love this whole making molds at the last minute.
I don't know if I'm gonna pull this off.
But I start the molding process and it is taking longer than expected.
There's still so much to do.
Time's running out and it's double elimination this week.
I'm worried about potentially going home.
Oh, shit.
The black light room is actually working.
Would you take that in? Let's test it.
Mr.
Westmore and McKenzie are really exited to see the face piece that I did in the black light room.
Your head-band is glowing.
You, girl, you have white teeth.
McKenzie looks like * girl.
Thanks a lot! You gotta have fun, or, you know, why are you doing this.
I looking like , lets get out of here.
Guys, it's really fun in there, you gotta go! I find myself here every time.
It's day two, we've got one hour left, and I'm running really behind.
I still need to finish my molds and all I can do is forge ahead, guns a-blarin'.
You know, I could add some more of these in here where they're painted.
For the sculpt, I want to make a Venus flytrap.
So I figured that I can make the teeth coming out this way.
So I'm going to take nails and make them into teeth and then pull them out before I mold it.
On top of that, I'm going to create the leaf so it looks like the actual face is more of a plant.
Pretty cool.
I'm exhausted.
I look like shit.
I feel like shit.
But I am not a quitter.
There is a slew of different UV paints.
So I grab some and go to the black light room, and it's glowing.
I'm gonna use this.
This will look cool when they kick on the black lights.
I want to put some more yellow in there.
- Does that look lame? - That'll be cool.
For my character, I am playing on the idea of making his hands, feet, parts of the top of his head and his back, red to bring the color pattern throughout the entire body as well as to play off of different amphibians, like poison dart frogs who have red extremities.
Oh, that looks cool, man.
I'm just trying to, like, see how it would layer.
Yeah.
All right.
The end of day two, I've got all my molds done, but unfortunately I really did not get a chance to test out the paints.
Time's up, guys.
Let's go! I think the trickiest part is to be able to pull off the two paint jobs that are required.
So I hope it works.
Oh, man! I'm really upset this morning.
I have four hours to get this makeup on and my foam piece has huge steam pockets.
Oh, shit.
Steam pockets is when you're baking your foam rubber-- if there's too much moisture still accumulated in the molds, it leaves really deep, ugly pits.
This right here is easily an hour out of my day to try to repair.
This was not in my schedule for this morning.
- How are you doing? - Great, man.
How are you? - You're gonna be translucent.
- Ooh.
Application day is going well.
The pieces are going together great.
I'm having fun applying, you know? I like applying makeups.
I just want to show them what I can do.
So I'm going to take my time.
I'm going to make this makeup look as good as I can make it look.
The first thing I see is that my face looks fine.
But I've sculpted such large gills and fins on her that they don't quite turn out.
Most of them are trapped in the mold and I'm digging them out and reconstructing them with cotton and latex.
I'm starting to sweat a bit because fixing all the gills is eating into my work time, it's eating into my painting time, and it's double elimination.
Every minute counts.
After I have the chest piece applied, I begin to stencil her back, her arms, her legs.
And I know by just turning the stencil it'll break up the whole stenciling process, so it doesn't look like I'm using it in the same pattern everywhere.
Looking around the room, everyone has, like, four pieces, three pieces, and my creature is going to have one piece.
It's not a good feeling, and I know that, if I don't get enough done, I'm going home.
If I could just cover the chest area with even latex, a little cotton, or sand, maybe it will translate that it's a beach plant.
Even if the look isn't the best, I just want a completed look.
Timing on this challenge is everything.
Now close your eyes.
Keep your mouth closed.
So this is probably around the last 20 minutes and I'm basically just taking him into the black light room, and doing a little bit of spattering on him.
I use some yellows and greens and whites.
And basically spatter it up the chest.
As well as put some strong yellow dots coming out from the center.
I've got basically the brunt of my painting done, but there's still a lot more painting to do.
Everyone has paint on them.
They have almost all their pieces on, and it's, like, here we go again, falling back in those same footsteps the judges always tell me not to.
That's time, guys! I'm really stressing out.
It's a challenge that I'm very familiar with.
So to fall behind on this one, I'm kind of letting myself down in a way.
Coming up I may be going home on this one.
Fuck.
You have to understand more about these choices.
I could see that on Pandora.
Go, go, go, go.
Walking into last looks, one of the first things I do is start painting the legs.
Can you turn back around for me? Thanks.
We're about to get crazy now.
I have so much to do.
I'm gluing latex to her, I'm stretching the veins, I have her blow-drying, 'cause I'm gluing veins on.
All I can do is just work like a madman to get this done.
I'm in the UV room checking my luminescent paint.
I'm probably not utilizing them in the best way, but whatever happens, happens.
Ten minutes, everyone! At this point I don't even have any bioluminescence paint on at all.
I'm putting it in my airbrush and I'm just outlining the black.
I'm very, very worried that I may be going home on this one.
Time, guys! Fuck.
Welcome to theFace Offreveal stage.
Tonight, two of you will be eliminated.
Say hello to your judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening.
- Evening.
Three time Oscar-winning makeup artist Ve Neill.
Hi, guys.
- Hi.
- Hi.
Creature and concept designer, Neville Page.
Hello, everyone.
- Hello.
- Hello.
And joining our panel this week he's an Oscar-winning producer whose work includes the two highest-grossing movies of all time, Titanic and Avatar.
Please give a warm welcome to John Landau.
Howdy.
He's probably one of the most successful producers in movie history.
And if he doesn't know these creatures, nobody does.
John, thank you so much for being here tonight.
It's a pleasure to be here.
I'm very excited to see what we have in store.
This week, your spotlight challenge was to create a new species that could exist in one of Earth's ecosystems.
But it also had to have two very distinct looks.
One in normal light and another visible only under ultraviolet light.
So let's see what you come up with.
The glow is stopping at the top of her head and a lot of the colors that I added just got masked over with regular paint.
And I feel I let myself down on this one.
My character comes out and I'm noticing all of the flaws.
There's some part of me that feels like I didn't do enough.
It looks good, especially from a distance.
He's bold, but I'm thinking he's bold in a good way.
Black light kicks on, and I'm okay with it.
I'm not 100% confident, but it is what it is.
I'm worried that they're not going to understand the concept.
I really don't have a backstory.
Even though I didn't get to take it where I wanted to, I still think it looks really cool.
You can see the fins and everything, so I'm really excited about it.
So at this point I can just hope for the best.
My black light effects work great.
It's gonna help compensate for the fact that my ambient lighting paint's not so hot.
Judges, why don't you take a closer look? Yeah.
Now is all of this black light? Is that why the color is so different? No, I don't think so.
I think all we saw on this guy is just splotches.
- Yeah.
- Yeah, it's just splotches.
The judges have gone in for their closer looks, and it's making me very, very nervous.
And this being a double elimination does not help.
The paint is rubbing off of the foam right there.
There are some pieces up there that have a more complete look than mine and that may do me in this time.
Now is all of this black light? Is that why the color is so different? No, I don't think so.
I think all we saw on this guy is just splotches.
Yeah, just the splotches.
The judges have gone in for their closer looks and I'm very, very nervous.
This being a double elimination does not help.
This is all really cool.
Yeah, it has so much more detail.
There's a lot of frickin' work in that thing.
Pretty complicated paint job.
I think this one's really, really inventive, the sculpture elements happening with this.
Interesting things happening through here.
These leaves sculpted in.
You're on your own on that one, man.
- This is cool.
- Oh, yeah.
- Even better close up.
- Yeah.
Really nice job.
Perhaps we have an artist who said the challenge is all about the change to the bioluminescent version of this thing, and that's a risky decision.
The judges would now like to speak with each of you to learn more about your work.
Kris, you're up first.
Kris, can you explain your design? She's a humanoid from the deep.
I used a silicone prosthetic for the face, a foam latex chest, everything else is pretty much paint.
It feels like a stylized sort of '60s, '70s approach to the makeup, and I think that's brilliant.
To take a stylized version that would allow you to work in broad strokes was a really intelligent way about approaching this.
I think that there's some really adventurous forms that you're applying to the body, particularly in the belly and just around the chest.
There are some pretty cool things going on.
I think this looks much better under the black light than it does this way.
I don't like the leaf treatment of the lower region.
I think you would have been much better off just leaving her really sleek looking.
When you're designing characters, they need to have expression.
And I think that's a tough mouth design to get to really convey any of that emotion.
- Kris, please step back.
- Thank you.
House, please step forward.
House, tell me about your concept.
I was thinking of an ancient race of fish-human people, and I wanted something familiar, yet beautiful.
She's definitely familiar looking.
Beautiful? I would not say she's beautiful.
I'm not too thrilled with the way she appears under the black light, and the hands are absolutely atrocious.
The graphics around the chest, on the arms, they don't feel even like it's organized chaos.
You have to understand a little bit more about these choices.
I really don't like the colors.
It doesn't have the purposeful asymmetry of what mother nature does in a fish.
House, please step back.
Anthony, you're up.
All right, Anthony, tell us about your concept.
He's kind of an amphibious creature and the bioluminescence of the character is attributed to age and rank.
There's some really beautiful things here.
There's a lot of asymmetry with it, but it's okay because it feels natural.
- It's a beautiful looking piece.
- Thank you.
I love that you tied the extremities together.
Not just, you know, the feet and the hands, but also the top of the head, and I could see that on Pandora.
Good job, all in all.
I love the fact that when the bioluminescence comes up, it's green.
It was just so cool.
It was completely unexpected.
And I thought that was really beautifully done.
You did an amazing job.
- Anthony, please step back.
- Thanks, guys.
- Meagan.
- Thanks.
So, Meagan, tell me about the concept behind this design.
I wanted it to look like a Venus flytrap, but inside a cave.
I had no idea, when I saw the character, what the concept was.
Instead of being organic, I think you were trying to mix, you know, too many things and for me, unfortunately, this missed.
What I don't understand is, if he's a Venus flytrap and you have these leaf elements, why they aren't delineated with a different color of paint so that you can at least see what you did.
How do you feel about your work this week? I was actually sick the first day and I'm okay with it because it's completed.
I think I would swallow that a little bit better if we had something really great, even if it was something small that was really great.
So I'm terribly disappointed.
I have to be honest.
- Meagan, please step back.
- Thank you.
Wayne.
Wayne, tell us about what you were thinking when you put this together.
I wanted to go with a crab theme.
I had more that I wanted to do to it with the big vacuform claws, but I had to conserve my time.
There's a lot about what you've done that I absolutely love.
Significant improvements over some of the stuff that you've done in the past.
I think that you're presenting a really solid piece of work here.
You really didn't make the black light half of the challenge come to life for me, but I have to give you the kudos to the sculpture on the face.
It's just absolutely gorgeous.
Thank you.
So I think this is a piece that works better when you're close up to it than when you're far away.
But I think the detail that you got right in the face was a great job.
- Thank you.
- Wayne, please step back.
Eric Z.
Eric, tell me about your concept.
He's a tough guy, he's a brawler, and he's a cave dweller.
He lives on the beach, in the caverns and in the caves.
For me, he just looks like a big cookie monster.
What happened with your bioluminescence paint job? I had some designs on his face and on the back of his head, so I decided to go back in with the regular makeup and, like, enhance some things and that covered up some of the bioluminescence that I had done on the face.
You have got to do better than this.
If you brought this out as a character for us to consider putting on film, I'd say, "absolutely not.
" I look at this and I don't see any originality.
Mm-hmm.
I'm sorry, it just did not work.
Eric, please step back.
Eric F.
You got a lot of explaining to do.
- What's this all about? - It's unfinished.
I was going to go with a translucent jellyfish type approach, and I ran short on time.
I think it's a really, really bold concept.
It's a great idea.
But she does look best with the bioluminescence.
When you went to the bioluminescence, I felt like we were getting to see the bones and the inner structure.
Yeah, that's-- Yet the ribs weren't bioluminescent.
It would have all brought it much better together for me had you been able, you know, to do that.
I love the way her legs look when she lights up under the black light.
I thought she looked fabulous.
So there you go.
Thank you, Ve.
Eric, please step back.
The judges have heard what you have to say.
If you would please head back to the makeup room while they make their decisions.
All right, guys, why don't we start with the looks you like the most this week? Let's begin with Anthony.
So good.
It was a creature without bioluminescence that transformed with the bioluminescence.
He did a great job.
Of everyone up there, he's the only one who did that.
It was genius.
All right, let's move on to Wayne.
He's got a really, really mature artistic sensibility when it comes to sculpture and form.
Often times people design and it looks good from one angle, but here you were able to turn his head and you saw little details coming out and it all played together.
I don't think I've ever seen a chest sculpted that way.
That's impressive to me.
All right, let's move on to the bottom looks of the week.
Let's start with House.
Been there, done that a little bit, you know? Yeah.
I feel that something didn't pop out as original.
You want familiar touchstones, but the overall impression can't be familiar.
And the paint job is so bad.
It's bad paint over coarse sculpting.
All right, let's move on to Meagan, who as you know was very, very sick.
I get that, but I don't know that it would have made a huge difference, to be honest.
I think the concept wasn't bad.
She did not have an idea.
When she tried to articulate what it was-- you have a Venus flytrap and it's opening this way on a face.
Let's move on to Eric Z.
I don't know what he was thinking of.
He said he's a rabble-rouser or whatever-- it's, like, really? What was he rousing, you know? A bunch of bakers? There seemed to be no thought to the specific design of the head.
- Mm-hmm.
- It was strange.
And the bioluminescent makeup looked like child's finger-painting.
Yeah.
Okay, judges, have you made your decisions? - I think so.
- Yup.
- Yeah.
- We have.
Let's bring them back out.
Glenn, tell us about the top looks tonight.
Anthony, your sculpting this week was phenomenal.
And the amount of conceptual work that you did from the beginning was truly impressive.
Wayne, some of the moments in your sculpting this week really stood out.
It's an extremely unique piece of work.
Who is the winner of this challenge? The winner of tonight's challenge is Who is the winner of this challenge? The winner of tonight's challenge is Anthony.
Your creature was a standout in both lighting conditions.
Very, very strong work.
Thank you guys so much.
Thank you.
It's so humbling again to win, especially when one of the guest judges is John Landau.
It's one of those geek moments that, you know, I'll never forget.
Anthony, congratulations.
You and Wayne can head back to the makeup room.
Kris and Eric F, you are also safe.
Please head back to the makeup room.
Thank you again.
Unfortunately, that means the rest of you are on the bottom this week, and two of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
House, there were some fundamental flaws with both function and form in your makeup this week.
The finished product was kind of rough.
Meagan, we realize that you had some physical struggles this week, but the finished makeup was devoid of any recognizable design.
Eric, we didn't see any really original ideas in your makeup.
It just didn't work.
So who is the first person going home tonight? The first person going home tonight is Meagan.
You really struggled with your time management this week and unfortunately you just weren't able to recover.
You know, Meagan, one thing I have to give you credit for is yours was really the only land-based design.
And I think that was really great and bold, and take that forward with you.
Thank you.
Meagan, I'm sorry, but you have been eliminated.
It has been great having you here with us.
If you'd please head back to the makeup room and pack up your kit.
Thank you so much.
I wish I did a cleaner makeup.
Even if it was one piece, made sure that piece looked amazing.
That is my biggest, biggest regret.
- Oh, stop.
- I'm gonna miss you.
Glenn, who is the second person going home tonight? The second person going home tonight is Eric Z.
We had major issues on nearly every level with your creature.
I'm afraid that you just lost your way this week.
Eric, I'm sorry but you have been eliminated.
That means, House, you are safe this week and can head back to the makeup room.
See you, bud.
Eric, I think you've done some really great things on this show.
And I'm absolutely certain that you will grow in the future.
Thank you so much, Glenn.
Eric, it's been great having you here with us.
Would you please head back to the makeup room and pack up your kit? Thank you, guys, so much.
- Good luck.
- See you, Eric.
Thank you.
I'm really bummed out that I got eliminated.
There's a big part of me that knows that I have more to offer.
I'm going back to Texas, y'all.
- Aw, man! - Oh, my God! - We all love each other, yo.
- We do.
Big one.
This experience was a roller coaster, but if you're not gonna challenge yourself, what's the point? I know that I am capable of doing so much more and I'm so lucky to have had this experience.
Watch our new web series, Face Off Redemption,tonight to see this season's eliminated contestants compete to win a spot on our next season of Face Off.