Face Off (2011) s05e08 Episode Script
Cosmic Circus
Previously onFace Off Laura's ode to cubism brought her to victory.
Perhaps your best work yet.
But Scott's tribute to surrealism sent him home.
Now, eight artists remain, and they'll take on a high-flying challenge that is out of this world.
It's exciting.
This is gonna be a really cool challenge.
But for some artists, the strain will bring them to the breaking point.
Do you like the cowl, or you don't? I didn't want to say I didn't like it.
- Well, you should have.
- Maybe take the jaw down a bit? Mm, no.
- Oh, fuck.
- That's awesome.
I do love the paints, but it's just muddy as a design.
Something went haywire.
In the end, one will win a VIP trip from Kryolan Professional Makeup to one of their 85 international locations, a 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
- Are you proud? - I am proud.
Last night, I got top looks again.
It's time for you to get kicked off.
You've been in the top too much.
I'm really happy I haven't been on bottom looks, but I really just want to win a challenge.
Let's go, guys! - It's dark again in here.
- Ooh, spooky! So, we walk into the lab and it's completely dark, and there's a spotlight on McKenzie.
- Hey, guys.
- Hey.
Before movies and television, people from all over the world found entertainment under the big top.
- Oh! - They were mesmerized by jaw-dropping performances that seemed otherworldly.
To this day, the circus continues to evolve.
Take a look at this.
Oh! - Oh, my God.
- Oh! Ooh.
Oh, that's so cool! What? Oh, yay! All right, I'd now like to introduce you to the co-owner and creative director of the cutting-edge circus troupe Cirque Berzerk.
Please welcome Suzanne Bernel.
I love Cirque Berzerk, so this is extremely exciting to me.
- Hi.
- Hi, McKenzie.
Thank you so much for being here.
Thank you.
Hi, everyone.
Can you tell these guys a little bit more about Cirque Berzerk? We wanted to re-invent the circus.
While we tip our hats to our Vaudeville, big top, dust bowl roots, we wanted to bring the sexy and the dark and the punk rock back to circus.
- Nice.
- That is so rad.
I love this.
Cirque Berzerk has successfully re-invented the circus here on planet Earth, but for this challenge, we want you to take things out of this world.
- Hmm.
- Oh.
Working together in teams of two, your spotlight challenge is to create a dark and sexy alien circus performer.
Oh, I'm so excited.
I love the whole circus aspect.
I love aliens.
I love dark and sexy.
And I think that this is gonna be a really cool challenge.
All right, guys, go ahead, and you can choose your teammate.
- Really? - Let's do it.
I picked Laura because we always wanted to work together.
I mean, ever since season three, we would always say, "You know, we would be a really good team, and it'd be something incredible.
" This is gonna be awesome! I'm excited.
Dude, this is our challenge.
We got this.
_ Everyone's really excited about doing an alien.
They've been waiting for this challenge, and it's just the one I've been loathing.
Now, there's only one more thing that you should know.
Oh, gosh.
The performance that you just saw today was just a tiny little glimpse of what will happen on the reveal stage.
The models you will select are actually performers from Cirque Berzerk, and will take part in a spectacular performance as members of an intergalactic circus troupe.
Fuck yeah.
Oh, this is gonna be fun.
All right, Suzanne.
So, what things should these artists keep in mind while creating their aliens? Well, we need to have people be able to jump and flip and fly through the air, so they need to be able to move in their makeup and have their makeup not come off.
I've never done a makeup on an actor who had to do this much movement, and so it's gonna be a challenge.
All right, guys, go ahead and choose your models and get started on your designs.
- Thank you so much.
- Thank you, guys.
Thank you, guys.
Day one, we got six hours in the lab.
We pick our models and get to work.
On our Samsung Galaxy tabs, we get to see what our models actually do.
So our model is a contortionist, so she has to be really free, so we're going tight, thin appliances.
And we can do, like, some sort of suggestion of, like, the punk rock mohawk.
So our concept is that a manned space mission landed on one of the moons of Neptune, and an alien got a punk band tape recorder from the astronaut, so our alien's gonna have a mohawk and, like, all kinds of cool punk-rock things.
That's super punk rock.
It's, like, old school Sex Pistols.
How about something like that? Almost like an alien facehugger-type thing? Yeah, except it's on its stomach.
So, our character is a alien animal trainer, and somehow, he has a parasite attached to him from his many years of training aliens.
I really like that.
Oh, he's on the thing.
That's, like, my favorite.
I'd love to make our character into a ringmaster because I feel like that's a really sexy position to be in a circus, and because our performer is on the ring, it's kind of a little play on words.
What if we do, like, scales? I decide we should do scales.
That might look really cool, and they'll be thin pieces, and they'll be able to move on the body well.
That's not a bad idea.
There's this group of carnies, and she's potentially the leader.
Our character is a space contortionist, and she's the leader of a circus and lures in other space travelers to become a part of this circus.
We need to think about the shape of the head and the face, 'cause that's what - we've got to get started today.
- Yeah.
Our performer is doing all sorts of backbends and everything, so it can't be this big crazy head 'cause she almost does headstands, but we want her to look very regal, and we come up with this kind of crown-like, round head shape, so we're just gonna go with that and get started sculpting.
Eddie starts blocking out the cowl, and I start working on the face.
Do you think we should take it back more, or do you think we should-- 'Cause I think it would be cool if it flows into this - Yeah, I think maybe.
- jaw bone right here.
Yeah.
I'm gonna work on the face while Roy works on the cowl.
We want to take both of our sketches and try to combine them into one alien.
Why is everybody so quiet? It's not art, it's aliens.
- Whoo! - Let's hear some noise! I'm excited.
I can tell you're excited, Frank.
Team Banana Fingers over here.
You would get stuck with the gimp on this one, wouldn't you? Roy, my other hand still works pretty good, bro.
On the art challenge, I injured my finger.
And I ended up with 13 stitches, and I still can't feel most of my finger, and the part that I can feel hurts really bad, so I'm really happy to have Frank on my team.
While Frank blocks up the cowl, I start the chest by laying aluminum foil over a female mannequin torso.
I secure those shapes by putting duct tape over it.
We pull it off and lay it down flat on a board.
I trace it with a marker, and it allows you to do a one-piece flat mold.
Hey, guys! Here for a walk-through.
Gonna check on your work.
- Yay! - It's circus time.
Show us dark and sexy.
We want to bring a little bit of wrinkling, but not too much that it looks old age.
You've got these lines going here, the eyebrows, and you've got your cheeks going into here.
You might even just combine this into a smooth piece as opposed to getting wrinkles into it.
What are you gonna make the mohawk out of? We-- we haven't really gone and looked yet, but it's not gonna be fun fur, I promise.
- Or porcupine spines.
- Yeah.
- Okay.
- Nothing that can-- you know, they do a head spin and stab themselves, and-- Yeah, yeah.
Yeah, let's not hurt the performers.
We got stuck with a male who has a ton of hair.
Work with the hair, - as opposed to trying to - Yeah.
put a cowl over the top of it.
Otherwise, you're gonna wind up with a big head like this.
Hair is sexy.
I like the shape of the head.
It's different and good, as opposed to this.
I'm concerned about your face as far as the sexy goes.
Yeah.
Okay, there's a problem.
How do you bring out the sexy in your aliens? Because a pair of eyelashes isn't going to change that.
Maybe taking the jaw down a bit? Mm, no.
Oh, fuck.
I think it's the giant nostrils that are looking out at me.
The other thing too, this mouth isn't sexy either.
I like that piece.
But then, I've liked pieces in the past and I was on the bottom for it.
It's too busy.
Needs to be smooth out.
I-I don't know.
I Coming up You don't think it looks good? We're just not on the same page.
Fuck.
I hate poly foam.
It's just a big, gobby mess.
That's awesome.
- Something went haywire.
- I don't read him as alien.
I'm concerned about your face as far as the sexy goes.
- Yeah.
- Day one, Mr.
Westmore comes by and he's not digging it.
I'm seeing a really intricate skull structure going on underneath there, as opposed to a softer one.
It's too busy.
I would smooth it out a little bit.
- Just smooth it out? - Yeah.
Okay.
If Michael Westmore says do it, you listen.
- All right, good luck.
- Thank you.
- Good luck, guys.
Thank you.
- Thank you very much.
All right, everybody, we're heading out, but cannot wait to see your performers.
- Thanks, guys.
- Bye, guys.
Bye-bye.
So, we need to go into a different direction.
I'm trying to think of all the sexy aliens that I've ever seen, and I can't think of, really, a lot.
You got any ideas? 'Cause now we're back kind of square one on the face.
I know.
The parameters for this challenge are so very specific about being alien and sexy, and what does that exactly mean? Let's see here.
Maybe if I take away the brow, and make it a bit softer that way.
It's something about the mouth.
It just looks so reptilian.
- It's just-- - Yeah, I know.
I make everything a little bit more round, make everything a little bit more sleek, and a little bit more sexy.
- It's sexier.
- That looks good.
- Yeah.
- It's more alien now.
Yeah.
I can't wait to paint this.
We want to do this really kind of cool tree frog/fish painting.
We want to use really bright colors-- purple, green, yellow, blue.
The paint job is so fun.
I agree.
While Laura's working on the sculpt, I decide to create a laser whip, so I go ahead and grab EL wire.
It's a very flexible piece of wire that lights up.
So I take that and take some L200 and some vacuum form, and start creating a laser whip.
And then I also start cutting out pieces and shaping parts of the rest of the costume.
You know what this reminds me of? The things in Hellboy.
Wasn't it, like, the Angel Of Death or something like that, that-- that had the head like that? I totally know what you're talking about.
I spent quite a while getting the contours to a point that it looked really cool, but I don't want it to look like something that's already been done.
Time is running out, so we're gonna think about it tonight and move forward tomorrow.
Ten minutes! That's time, guys! - Let's go home! - Yay! I'm worried because I know that we have to change this cowl shape.
I just hope that I have enough time to sculpt it to a level it needs to be tomorrow.
But I'm not happy with the character, and I don't know what I'm gonna do to make it work.
- Bam, bam! - I'm gonna go look - at the teeth really quick.
- Okay.
It's day two in the lab.
We have 9 1/2 hours.
Our design is very reminiscent of another design, and we're gonna have to change the sculpture.
I'll redesign this front view.
If you want to just attack that face.
I don't want to mold a sculpture I'm not happy with, so we need to change it as quickly as possible.
- I'm gonna put the-- - Is this sexy enough? Yeah, I-I think so.
The face looks really sexy, and I'm liking it.
I'm feeling really good about the makeup.
Mr.
Westmore said that we should utilize our model's hair, but all I sculpted so far are scales.
Scales are just texture, and I could go home if that's all I do.
So I'm thinking that I should do a cowl.
I'm gonna make it split at the top like a mohawk and have all of his dreads come out, so we'll still be using his dreads, but we'll just have more of an alien look to him.
- Top look, top look! - Top look, top look! Got to keep the Laney and 'Lana tradition up.
I don't think that we should spend time sculpting the cowl all over again, so instead, I add little nubs and cut into the top of it, and rather than having it be one continuous circle, make it into two forms.
And I think that looks pretty cool, honestly.
I'm with ya.
I think that's awesome, yeah.
- I almost like that better.
- Yeah, me too.
Our alien has all these subdermal piercings, and these pyramid spikes I embedded in her chest.
And because of my injury, I'd rather stay out of the mold room, so I start sending pieces to Frank.
He's molding them up.
I'm gonna go make this mold, you see.
All together, I'm gonna be making seven molds all by myself.
If it was somebody like Alana or Miranda, they'd probably have a meltdown, but I'm pretty good at managing my time, so this doesn't worry me at all.
- Ten blenders.
- We decided to make blender pieces, which are just really thin pieces of foam latex that have a little build up in the middle that smooth down to all the sides, and you use them to blend any edges that show, like the cowl and the face on our alien animal trainer.
One, two, three, four, five, six, seven, eight, nine, ten.
That's really cool.
Quit sculptin' so damn good.
You guys really made that departure nicely.
Yay, thank God.
I hope that these don't read too fish-like.
I don't think they will.
I'm just a little nervous now about it.
Some scales look a certain way, and some scales look another way.
I'm just worried that it's not gonna blend well or be cohesive.
Well, I want to add in this shape going back on that, so it's not just scales on the head.
Do what you want, just own it onstage tomorrow.
So, what do you mean you want me to own that onstage? You don't think it looks good? I just know it could look better.
Alana's second-guessing everything that I do.
I'm just, like, hoping that all of this goes together, you know? She's really not trusting me on this one.
Well, it doesn't matter about the sculpture as long as you can paint it right.
So, I'm confused.
You don't like my sculpture? Oh, God.
We're just not on the same page.
Is that what you're saying? So, you don't like my sculpture? Is that what you're saying? It's day two, and I'm pretty stressed.
Alana's not liking anything that I'm doing.
I-I just thought that's what we decided on sculpting.
I just don't want this to look, like, helmet-y if we don't blend it.
She's so negative.
Everything I do or say, she's not happy with.
So what would you like me to do different right now, Alana? I have one intention and she has another for this alien ringmaster, and I think we're just trying so hard to mesh these ideas together when it's not really happening.
You want to bring that same thing, like the big to small, or do you want to do it from small to big? I just want them to be on the head so it's not just a scale head.
I want there to be something else.
Yeah, I think it needs, like, more form for sure, so maybe that'll do it.
I'm confused about how it's gonna blend onto the face, but I have faith in Laney, so I'm just ready to keep moving forward.
That's looking dope, Eddie.
Thanks, man.
It's like intergalactic Wonder Woman.
Yeah.
I could add some light purple.
Like, a periwinkle purple, like, in the back here? Hopefully I'll have something you can play with - in a little bit and see.
- Okay.
We want to run our pieces, except for the face, in poly foam so we can go ahead and get everything pre-painted.
So I take the cowl, put latex in it, and start running it in the poly foam.
While Roy works on the poly foam, I'm testing paint.
We do want to go in a blue route, but also put some greens in there as well, and I think that'll read alien.
It's, like, getting close to the end of the day, and I go to open up the mold, and it's just a big, gobby mess of just stickiness.
Fuck.
I hate poly foam.
It's like sticking your hand in honey.
I've already been burned by poly foam this season.
Now I'm burned on it again, and I've got to get this thing cleaned up so I can get my foam running in it.
Poly foam is just not liking me this season.
Yeah, it is just not curing well.
No, it's not.
I'm just gonna peel it and we'll take it and run it for foam.
Yeah.
I've never had this much problem with poly foam.
All the teams are still cleaning their shit out.
All I got do is to write our name on it.
Right? Time, everybody! That's time.
I guess we ought to get out of here.
End of day two, Tate and I are right on schedule.
Up top.
We got everything about as ready as possible.
I think we're ready for application tomorrow.
Let's go! Let's go get it.
Let's go get it! So, it's application day.
We have four hours in the lab, and then one hour of last looks at the stage, and we have a ton of work to do today.
How'd that cowl turn out? It's got a couple of funny spots, but it's fine.
Tate will pretty much spend the first two hours working on makeup, and then I'll jump in and spend the second two hours applying the cowl and face, and getting the paint job going on our cool, punk rock alien.
So you're the galactic contortionist.
We're turning you into, like, a-a crust punk sort of uh, circus alien, so - Nice.
- You're a reptilian alien.
We saw that you do a lot of this, so we've got a giant bug on your chest.
We're under a crazy time crunch, so we'll probably be flying around like chickens with our heads cut off today.
Let me see how you have yours.
We want to make sure they're even.
We start applying, and we get the chest and cowl down together.
We've got kind of a complex headpiece, so it takes some time.
I have to kind of cut back in certain areas.
That is all second skinned.
Yeah, it's ridiculous.
A second skin is when you have the foam latex and then the skin and they're not attached.
- But we'll have to - Make it work.
Like, definitely pack-- Yeah, make it work.
Just like real effects artists.
Okay, I need to go check on my bug head.
Okay, yeah.
Go for it.
The head on this little creature that we have on the belly is a bit heavy, so I can make an upholstery foam mold of the head piece.
While that's setting up, I figure out that I can run a simple tension device attached to his thigh, so whenever he bends, it creates that tension so that the head will pop up.
Oh, jeez.
He's getting excited.
Really bad edges.
I'm really worried about this cowl.
Whatever, the judges are used to bad edges.
The last time I was in this competition, the judges said quite often that my face and my cowl didn't meet up correctly, and that's exactly what's happening on this piece.
I think that we maybe have to blend the edge of the cowl und-- like, underneath.
- Yeah? - Yeah.
I don't think we have time for that.
It's gonna look like shit if we don't.
I went home for something like that.
I feel like Alana and I just aren't on the same page.
This piece is not working.
Even though it's Laney's piece, Laney's never been on bottom, but I have, and they'll send me home for this.
Do you like the cowl or you don't? I just think it's too wide.
That's-- When I was looking at it yesterday, I didn't want to say, like, I didn't like it.
Well, you should have, because that's when I was sculpting it before we molded it.
These edges are so awful.
Well, what do you want me to do? Make the call.
I know that if we're on bottom, I'm gonna go home, she's not.
Tell me what to do.
Coming up I can't read your mind right now.
I am so stressed.
This makeup's a mess.
It falls short.
I think she's quite beautiful.
Now it's time to put your makeups to the test.
Tell me what to do.
It's application day, and Alana's just not into the cowl at all.
Honestly, if I was doing this makeup by myself, I'd scrap the cowl.
If I scrap the cowl, then all I did was scales, so if I'm in bottom looks, then I'm gonna go home.
Let me Frankenstein it.
I'll own it.
Like, just let me do this.
The cowl looks so big compared to the face.
Like, step back.
This cowl's not gonna fly.
Even though it's Laney's piece, I know the judges are gonna call me out.
All right.
Let's use his hair.
We're running out of time, so I just finally agree, let's not use the cowl.
Don't you think that's what's right to do? Yeah.
Let's-- let's do it.
I think this should be your call, 'cause you really feel like if we're on bottom, you're going home, and I want this to turn into your makeup now.
That's not fair.
That's fucked up.
Well, I know you're not gonna be confident unless this is off.
So we're scrapping the cowl.
We're gonna go something crazy with the hair and do an awesome paint job.
Let's do this.
Let's-- let's keep you here.
All right, that's 30 minutes, everybody.
That's it! Time's up! - Thank you so much.
- Thank you so much.
I think it looks really good.
I'm confident about this one, but my model's not just gonna be standing there.
He's gonna actually be performing, and my makeup has to stay on all through the performance.
There's so many things that could go wrong, and if it does, you're instantly on bottom.
Let's do it, guys.
- Good luck, everyone! - Good luck.
We get to last looks, and we've got quite a lot still to do.
So I'm going to finish painting the face and Eddie's gonna work on the chest and the body and the wardrobe.
You might want to mix a little more white into it, maybe.
The first thing we got to do is the eyes and the mouth, and while Laura's working on that, I take it and I start basing out his hands and his feet.
- He's still popping up.
- Yeah.
I'm gonna cover that with a blender.
I've never dealt with anything like this before.
Why don't we go like this? In last-looks, I start with getting some color onto the alien's head, and I'm adding more contrast around her eyes.
I also have to finish the mouth.
You see all these white dots that I just put in? The yellow needs to be brought down into it.
We're so far behind, and it feels like I'm a little bit on my own here.
I can't read your mind right now, and I don't-- I can't see what's in your head.
I don't know, I-I feel like I said it.
_ That's time, everybody! There's so much more depth that needs to be in that paint job, but, at this point, I can only just try to own what we've put together.
Oy vey.
Welcome to theFace Off reveal stage.
Tonight, one of you will be eliminated.
Let's say hello to our talented judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening, guys.
- Hey, Glenn.
Three-time Oscar-winning makeup artist, Ve Neill.
- Hi, guys.
- Hey, Ve.
Creature and concept designer, Neville Page.
- Hello.
- Hello.
Hey, Neville.
So this week, your spotlight challenge was to create dark and sexy alien circus performers.
Now, I also told you that your characters would participate in a spectacular performance here on our reveal stage.
But before we see our sci-fi circus, let's take a look at your creations.
I'm really happy with it.
I know Laura is too, so I don't care what anybody else thinks.
This is a cool-looking alien.
Our piece isn't pulled together, and I know we're about to be ripped up for it.
I'm very happy.
I think this galactic contortionist captured our vision.
I think it looks pretty cool.
It's got the punk rock element.
It feels circus-y, even sexy.
All right.
It's time to watch your creations perform with Cirque Berzerk in our very own sci-fi circus.
I think our character looks great, but her makeup has to withstand the performance, so I'm nervous because you never know what could happen.
What do you think of tonight's alien circus performers? Tell us on Twitter using #FaceOff.
Now it's time to put your makeups to the test.
Ooh! Ooh.
That's crazy.
Oh, my God.
Wow.
Judges, I'm sure you're anxious to take a closer look at these aliens.
Funny stuff going on here.
It's a parasite.
I don't understand it at all, actually.
The head I like, and there's a lot of really nice details.
It's really asymmetrical, isn't it? Is it, or is it crooked? Thanks.
The face feels very minimal in terms of anatomy.
You know what's really weird? It's the way they painted this.
It doesn't really go with the scale work they put on it.
I am so stressed out right now.
It's a mess.
I'm terrified I'm gonna go home.
She held together pretty well.
Scrunch your forehead.
There you go.
That's kind of neat looking.
_ _ Look how symmetrical this is.
That's really hard to do that.
- Oh, yeah.
- I think it's beautiful.
Just all this around the eye here.
Great job.
- Thank you.
- Thanks.
This is just so confusing as a detail.
_ _ I do like some of the paint work going on through here.
I absolutely love a lot of the paint work going on on that head.
But the belly is very muddy, difficult to read.
Thank you.
The judges would now like to speak with each of you to learn more about your work.
Tate and Frank, you're up.
Tell us about your design this week, guys.
She's from one of the moons of Neptune.
A space mission crashed into it.
Her tribe was sifting through the wreckage, and they came across the walkman, which had a punk band in it called "Dumpster Duck," which is the name of our character.
There's some definite high points on this makeup.
Who did what on this? I sculpted the face and painted the head.
Tate sculpted the chest, made the mohawk, the tattoos, and lot of the painting, and we both worked on wardrobe.
I love the clean execution of the head, particularly in the paint.
For the time that you had, that's pretty impressive.
The best part about this makeup is the awesome paint job that you did all throughout her body.
Under her skin, where it looks like stained ink, it actually looks like that's the coloring of her skin.
From chin down to waist, it's muddy visually.
I do love the paints, but it's just muddy as a design.
Frank and Tate, you can step back.
Miranda and Eddie, you're next.
So tell us about your concept for your alien circus performer.
Our character is known as the "Galactic Contortionist.
" She is a space siren who lures in other space travelers to become part of the circus.
I sculpted the front of the cowl, and Eddie sculpted the back of the cowl.
I sculpted the face.
Eddie sculpted the chest.
He painted the majority of the body, and I painted the head.
I think she's quite beautiful in a very alien way.
She is very regal.
I love the crown.
I think the paint job is beautiful.
I do, however, think she could have been made to look a little bit more feminine and sexy.
The sexy, I think, is very apparent here, and here's why.
The more symmetrical a person's face is, generally speaking, the more beautiful we find them, and this is beautifully symmetrical with fine fades and transitions with the paint.
Can we see the back please? That's awesome.
It looks like a combination of plant and perhaps sea life.
It works as splendidly as the front of the head does.
There's some gorgeous things happening.
The way you flow up from the cheekbone.
You create the illusion of an ear, and it wraps itself back down into the mandible.
That whole zone is just handled so beautifully in regards to form language.
- Thank you, guys.
- Thank you.
Please step back.
Alana and Laney, you're up.
So tell us about the concept.
He is a space womanizer, and he started the circus to entertain women around the galaxy.
Who specifically did what? Alana sculpted the face, and I sculpted all the scales.
Alana helped refine them.
I also sculpted a cowl that we scrapped 'cause of really bad edges, so my big piece of work didn't make it to the stage today.
It falls short in feeling like a dark, sexy alien.
I get that you're trying to do something different with the skin, but the scales don't transition in its surface quality or utility.
Who did the facial sculpt? - I did.
- It's interesting.
But I don't think that that bottom lip lends itself to him looking sexy or an alien.
I very much like the beginning of the idea of what started on the side of the nose, where you started to do, like, some layers around his nostrils, but the nose is the only thing that started to go in the right direction, and even that's not a complete idea.
Most frustrating is the fact that he looks goofy carnival, so I don't read him as alien.
I just really wish that you would have painted it so that it made sense.
The colors are gorgeous, but the purple is just kind of like-- Psht! Psht!-- all over the place.
I think something went haywire.
Alana and Laney, please step back.
Laura and Roy.
Tell me about this concept.
Our character is a creature-tamer and performer, and he also has a parasite-host relationship going on.
I sculpted the cowl.
Laura did the face.
We both worked on the chest.
Laura did the majority of the sculpting on that, and I fabricated the outfit and mechanized the head on the parasite.
As much as I love the idea, it just feels like it could have been done better.
Taking that parasite off his chest, putting it onto his neck and the upper back would have integrated better there, and it would have solved a lot of the design problems that I have.
But I do like the shape and color choices of the head, so this is a mixed bag for me.
I'm not really fond of the blue coloring on this alien.
More color in different areas to break up that blue would have been really helpful in this makeup.
The overall vibe of the head and some of the form choices, I think, are good, but I see no point and a total waste of effort in the insect just hugging him perfectly on his chest.
It's not your best effort.
Laura, Roy, please step back.
All right, guys, the judges have heard what you have to say.
If you'd please head back to makeup room while they deliberate and the home audience tweets about their favorites using #FaceOff.
All right, judges.
Why don't we talk about tonight's makeups.
Let's start with Tate and Frank.
It's sculpted well, it's applied well, and the color is gorgeous.
I love that paint job.
It looked like that's what her skin was.
And it was a good compensation for the lack of physical texture on the face.
All right, let's move on to Eddie and Miranda.
Ooh, I think this one was cool.
I loved that framework around the face.
It was like a beautiful crown.
I think the sculpting was really beautifully done.
I thought Miranda was gonna tell me that she sculpted the whole head, front to back.
Eddie did a great job continuing that aesthetic into the back of the head.
I did really appreciate the fact that it looked like it was one cohesive sculpture.
All right, let's move on to Alana and Laney.
He didn't really look like an alien, and the paint job was crap.
The scales as a pattern, I don't think they were done very well.
Their efforts this week were hopeless.
The facial sculpt, which sets the tone for the whole makeup, is not alien, is not dark, and is not sexy.
All right.
Let's move on to Laura and Roy.
This is a concept I cannot get behind.
This symbiotic relationship with an insect-like thing that was poorly designed and executed.
An overwhelming display of poor self-editing.
They jumped on this concept of "Let's stick something right there.
How genius is that?" The color palette was so boring.
- I know.
- It was just a pale blue alien.
All right, judges.
Have you made your decisions? Yes, we have.
- We good? - Yeah.
Okay, let's bring 'em back out.
Glenn, tell us about the top teams.
We really liked several of the makeups tonight, but there was one that stood out above the rest for us.
All right, Glenn.
Tell us about the top teams.
We really liked several of the makeups tonight, but there was one that stood out above the rest for us.
Eddie and Miranda.
We loved the shape of the head, and we thought that the paint job just worked to accentuate it.
Well done.
- Thank you.
- Thank you guys so much.
Eddie and Miranda, great job, but, as you know, we can only have one winner.
Glenn? The winner of this challenge is Miranda.
Once again, a brilliant application.
Your sculpting, blending, and painting, all superior.
- Really well done.
- Thank you.
I feel so proud to win my fourth challenge.
I think that that's quite amazing, and I'm so honored.
_ Miranda, congratulations.
You and Eddie can head backstage.
Thank you, guys.
Good job, Miranda.
Glenn, tell us about the bottom teams.
There was only one bottom look for us tonight.
Alana and Laney.
All right, that means Laura and Roy, Tate and Frank, you guys are all safe.
Please head back to the makeup room.
Congrats, guys.
Alana and Laney, if you'd please step forward.
Laney and Alana.
Despite the obstacles you faced, you missed some really simple opportunities to correct course, and therefore delivered a subpar makeup.
All right, so who is going home tonight? The person going home tonight is Alana.
No! I'm so sorry, Alana.
I'm so sorry.
I'm so sorry.
Alana, we didn't think that the character looked like a dark, sexy alien, and that started with the face.
I said this once before, and I'll say it again.
This is the best stress I've ever been under, and I've learned so much from everyone here, especially you guys.
Alana, I'm so sorry, but you have been eliminated.
Laney you are safe for this week.
If you'd please head backstage.
Alana, I'm so proud of what you've achieved.
I love your hunger.
I love your passion for this.
I also know that we have not seen nor heard the last of you, sweetie.
I may be gone, but I'm not over.
Alana it's been great having you here with us.
If you'd please head backstage and pack up your kit.
Thank you.
I'm sad, I'm disappointed, but I'm proud.
It's me.
I really do believe in myself.
That's something I couldn't ever say before Face Off.
I know that this is just gonna be a motivating factor for me to go home and keep sculpting, keep painting, and keep being inspired by the wonderful people that I'm surrounded with.
I'm not gonna stop after this.
Perhaps your best work yet.
But Scott's tribute to surrealism sent him home.
Now, eight artists remain, and they'll take on a high-flying challenge that is out of this world.
It's exciting.
This is gonna be a really cool challenge.
But for some artists, the strain will bring them to the breaking point.
Do you like the cowl, or you don't? I didn't want to say I didn't like it.
- Well, you should have.
- Maybe take the jaw down a bit? Mm, no.
- Oh, fuck.
- That's awesome.
I do love the paints, but it's just muddy as a design.
Something went haywire.
In the end, one will win a VIP trip from Kryolan Professional Makeup to one of their 85 international locations, a 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
- Are you proud? - I am proud.
Last night, I got top looks again.
It's time for you to get kicked off.
You've been in the top too much.
I'm really happy I haven't been on bottom looks, but I really just want to win a challenge.
Let's go, guys! - It's dark again in here.
- Ooh, spooky! So, we walk into the lab and it's completely dark, and there's a spotlight on McKenzie.
- Hey, guys.
- Hey.
Before movies and television, people from all over the world found entertainment under the big top.
- Oh! - They were mesmerized by jaw-dropping performances that seemed otherworldly.
To this day, the circus continues to evolve.
Take a look at this.
Oh! - Oh, my God.
- Oh! Ooh.
Oh, that's so cool! What? Oh, yay! All right, I'd now like to introduce you to the co-owner and creative director of the cutting-edge circus troupe Cirque Berzerk.
Please welcome Suzanne Bernel.
I love Cirque Berzerk, so this is extremely exciting to me.
- Hi.
- Hi, McKenzie.
Thank you so much for being here.
Thank you.
Hi, everyone.
Can you tell these guys a little bit more about Cirque Berzerk? We wanted to re-invent the circus.
While we tip our hats to our Vaudeville, big top, dust bowl roots, we wanted to bring the sexy and the dark and the punk rock back to circus.
- Nice.
- That is so rad.
I love this.
Cirque Berzerk has successfully re-invented the circus here on planet Earth, but for this challenge, we want you to take things out of this world.
- Hmm.
- Oh.
Working together in teams of two, your spotlight challenge is to create a dark and sexy alien circus performer.
Oh, I'm so excited.
I love the whole circus aspect.
I love aliens.
I love dark and sexy.
And I think that this is gonna be a really cool challenge.
All right, guys, go ahead, and you can choose your teammate.
- Really? - Let's do it.
I picked Laura because we always wanted to work together.
I mean, ever since season three, we would always say, "You know, we would be a really good team, and it'd be something incredible.
" This is gonna be awesome! I'm excited.
Dude, this is our challenge.
We got this.
_ Everyone's really excited about doing an alien.
They've been waiting for this challenge, and it's just the one I've been loathing.
Now, there's only one more thing that you should know.
Oh, gosh.
The performance that you just saw today was just a tiny little glimpse of what will happen on the reveal stage.
The models you will select are actually performers from Cirque Berzerk, and will take part in a spectacular performance as members of an intergalactic circus troupe.
Fuck yeah.
Oh, this is gonna be fun.
All right, Suzanne.
So, what things should these artists keep in mind while creating their aliens? Well, we need to have people be able to jump and flip and fly through the air, so they need to be able to move in their makeup and have their makeup not come off.
I've never done a makeup on an actor who had to do this much movement, and so it's gonna be a challenge.
All right, guys, go ahead and choose your models and get started on your designs.
- Thank you so much.
- Thank you, guys.
Thank you, guys.
Day one, we got six hours in the lab.
We pick our models and get to work.
On our Samsung Galaxy tabs, we get to see what our models actually do.
So our model is a contortionist, so she has to be really free, so we're going tight, thin appliances.
And we can do, like, some sort of suggestion of, like, the punk rock mohawk.
So our concept is that a manned space mission landed on one of the moons of Neptune, and an alien got a punk band tape recorder from the astronaut, so our alien's gonna have a mohawk and, like, all kinds of cool punk-rock things.
That's super punk rock.
It's, like, old school Sex Pistols.
How about something like that? Almost like an alien facehugger-type thing? Yeah, except it's on its stomach.
So, our character is a alien animal trainer, and somehow, he has a parasite attached to him from his many years of training aliens.
I really like that.
Oh, he's on the thing.
That's, like, my favorite.
I'd love to make our character into a ringmaster because I feel like that's a really sexy position to be in a circus, and because our performer is on the ring, it's kind of a little play on words.
What if we do, like, scales? I decide we should do scales.
That might look really cool, and they'll be thin pieces, and they'll be able to move on the body well.
That's not a bad idea.
There's this group of carnies, and she's potentially the leader.
Our character is a space contortionist, and she's the leader of a circus and lures in other space travelers to become a part of this circus.
We need to think about the shape of the head and the face, 'cause that's what - we've got to get started today.
- Yeah.
Our performer is doing all sorts of backbends and everything, so it can't be this big crazy head 'cause she almost does headstands, but we want her to look very regal, and we come up with this kind of crown-like, round head shape, so we're just gonna go with that and get started sculpting.
Eddie starts blocking out the cowl, and I start working on the face.
Do you think we should take it back more, or do you think we should-- 'Cause I think it would be cool if it flows into this - Yeah, I think maybe.
- jaw bone right here.
Yeah.
I'm gonna work on the face while Roy works on the cowl.
We want to take both of our sketches and try to combine them into one alien.
Why is everybody so quiet? It's not art, it's aliens.
- Whoo! - Let's hear some noise! I'm excited.
I can tell you're excited, Frank.
Team Banana Fingers over here.
You would get stuck with the gimp on this one, wouldn't you? Roy, my other hand still works pretty good, bro.
On the art challenge, I injured my finger.
And I ended up with 13 stitches, and I still can't feel most of my finger, and the part that I can feel hurts really bad, so I'm really happy to have Frank on my team.
While Frank blocks up the cowl, I start the chest by laying aluminum foil over a female mannequin torso.
I secure those shapes by putting duct tape over it.
We pull it off and lay it down flat on a board.
I trace it with a marker, and it allows you to do a one-piece flat mold.
Hey, guys! Here for a walk-through.
Gonna check on your work.
- Yay! - It's circus time.
Show us dark and sexy.
We want to bring a little bit of wrinkling, but not too much that it looks old age.
You've got these lines going here, the eyebrows, and you've got your cheeks going into here.
You might even just combine this into a smooth piece as opposed to getting wrinkles into it.
What are you gonna make the mohawk out of? We-- we haven't really gone and looked yet, but it's not gonna be fun fur, I promise.
- Or porcupine spines.
- Yeah.
- Okay.
- Nothing that can-- you know, they do a head spin and stab themselves, and-- Yeah, yeah.
Yeah, let's not hurt the performers.
We got stuck with a male who has a ton of hair.
Work with the hair, - as opposed to trying to - Yeah.
put a cowl over the top of it.
Otherwise, you're gonna wind up with a big head like this.
Hair is sexy.
I like the shape of the head.
It's different and good, as opposed to this.
I'm concerned about your face as far as the sexy goes.
Yeah.
Okay, there's a problem.
How do you bring out the sexy in your aliens? Because a pair of eyelashes isn't going to change that.
Maybe taking the jaw down a bit? Mm, no.
Oh, fuck.
I think it's the giant nostrils that are looking out at me.
The other thing too, this mouth isn't sexy either.
I like that piece.
But then, I've liked pieces in the past and I was on the bottom for it.
It's too busy.
Needs to be smooth out.
I-I don't know.
I Coming up You don't think it looks good? We're just not on the same page.
Fuck.
I hate poly foam.
It's just a big, gobby mess.
That's awesome.
- Something went haywire.
- I don't read him as alien.
I'm concerned about your face as far as the sexy goes.
- Yeah.
- Day one, Mr.
Westmore comes by and he's not digging it.
I'm seeing a really intricate skull structure going on underneath there, as opposed to a softer one.
It's too busy.
I would smooth it out a little bit.
- Just smooth it out? - Yeah.
Okay.
If Michael Westmore says do it, you listen.
- All right, good luck.
- Thank you.
- Good luck, guys.
Thank you.
- Thank you very much.
All right, everybody, we're heading out, but cannot wait to see your performers.
- Thanks, guys.
- Bye, guys.
Bye-bye.
So, we need to go into a different direction.
I'm trying to think of all the sexy aliens that I've ever seen, and I can't think of, really, a lot.
You got any ideas? 'Cause now we're back kind of square one on the face.
I know.
The parameters for this challenge are so very specific about being alien and sexy, and what does that exactly mean? Let's see here.
Maybe if I take away the brow, and make it a bit softer that way.
It's something about the mouth.
It just looks so reptilian.
- It's just-- - Yeah, I know.
I make everything a little bit more round, make everything a little bit more sleek, and a little bit more sexy.
- It's sexier.
- That looks good.
- Yeah.
- It's more alien now.
Yeah.
I can't wait to paint this.
We want to do this really kind of cool tree frog/fish painting.
We want to use really bright colors-- purple, green, yellow, blue.
The paint job is so fun.
I agree.
While Laura's working on the sculpt, I decide to create a laser whip, so I go ahead and grab EL wire.
It's a very flexible piece of wire that lights up.
So I take that and take some L200 and some vacuum form, and start creating a laser whip.
And then I also start cutting out pieces and shaping parts of the rest of the costume.
You know what this reminds me of? The things in Hellboy.
Wasn't it, like, the Angel Of Death or something like that, that-- that had the head like that? I totally know what you're talking about.
I spent quite a while getting the contours to a point that it looked really cool, but I don't want it to look like something that's already been done.
Time is running out, so we're gonna think about it tonight and move forward tomorrow.
Ten minutes! That's time, guys! - Let's go home! - Yay! I'm worried because I know that we have to change this cowl shape.
I just hope that I have enough time to sculpt it to a level it needs to be tomorrow.
But I'm not happy with the character, and I don't know what I'm gonna do to make it work.
- Bam, bam! - I'm gonna go look - at the teeth really quick.
- Okay.
It's day two in the lab.
We have 9 1/2 hours.
Our design is very reminiscent of another design, and we're gonna have to change the sculpture.
I'll redesign this front view.
If you want to just attack that face.
I don't want to mold a sculpture I'm not happy with, so we need to change it as quickly as possible.
- I'm gonna put the-- - Is this sexy enough? Yeah, I-I think so.
The face looks really sexy, and I'm liking it.
I'm feeling really good about the makeup.
Mr.
Westmore said that we should utilize our model's hair, but all I sculpted so far are scales.
Scales are just texture, and I could go home if that's all I do.
So I'm thinking that I should do a cowl.
I'm gonna make it split at the top like a mohawk and have all of his dreads come out, so we'll still be using his dreads, but we'll just have more of an alien look to him.
- Top look, top look! - Top look, top look! Got to keep the Laney and 'Lana tradition up.
I don't think that we should spend time sculpting the cowl all over again, so instead, I add little nubs and cut into the top of it, and rather than having it be one continuous circle, make it into two forms.
And I think that looks pretty cool, honestly.
I'm with ya.
I think that's awesome, yeah.
- I almost like that better.
- Yeah, me too.
Our alien has all these subdermal piercings, and these pyramid spikes I embedded in her chest.
And because of my injury, I'd rather stay out of the mold room, so I start sending pieces to Frank.
He's molding them up.
I'm gonna go make this mold, you see.
All together, I'm gonna be making seven molds all by myself.
If it was somebody like Alana or Miranda, they'd probably have a meltdown, but I'm pretty good at managing my time, so this doesn't worry me at all.
- Ten blenders.
- We decided to make blender pieces, which are just really thin pieces of foam latex that have a little build up in the middle that smooth down to all the sides, and you use them to blend any edges that show, like the cowl and the face on our alien animal trainer.
One, two, three, four, five, six, seven, eight, nine, ten.
That's really cool.
Quit sculptin' so damn good.
You guys really made that departure nicely.
Yay, thank God.
I hope that these don't read too fish-like.
I don't think they will.
I'm just a little nervous now about it.
Some scales look a certain way, and some scales look another way.
I'm just worried that it's not gonna blend well or be cohesive.
Well, I want to add in this shape going back on that, so it's not just scales on the head.
Do what you want, just own it onstage tomorrow.
So, what do you mean you want me to own that onstage? You don't think it looks good? I just know it could look better.
Alana's second-guessing everything that I do.
I'm just, like, hoping that all of this goes together, you know? She's really not trusting me on this one.
Well, it doesn't matter about the sculpture as long as you can paint it right.
So, I'm confused.
You don't like my sculpture? Oh, God.
We're just not on the same page.
Is that what you're saying? So, you don't like my sculpture? Is that what you're saying? It's day two, and I'm pretty stressed.
Alana's not liking anything that I'm doing.
I-I just thought that's what we decided on sculpting.
I just don't want this to look, like, helmet-y if we don't blend it.
She's so negative.
Everything I do or say, she's not happy with.
So what would you like me to do different right now, Alana? I have one intention and she has another for this alien ringmaster, and I think we're just trying so hard to mesh these ideas together when it's not really happening.
You want to bring that same thing, like the big to small, or do you want to do it from small to big? I just want them to be on the head so it's not just a scale head.
I want there to be something else.
Yeah, I think it needs, like, more form for sure, so maybe that'll do it.
I'm confused about how it's gonna blend onto the face, but I have faith in Laney, so I'm just ready to keep moving forward.
That's looking dope, Eddie.
Thanks, man.
It's like intergalactic Wonder Woman.
Yeah.
I could add some light purple.
Like, a periwinkle purple, like, in the back here? Hopefully I'll have something you can play with - in a little bit and see.
- Okay.
We want to run our pieces, except for the face, in poly foam so we can go ahead and get everything pre-painted.
So I take the cowl, put latex in it, and start running it in the poly foam.
While Roy works on the poly foam, I'm testing paint.
We do want to go in a blue route, but also put some greens in there as well, and I think that'll read alien.
It's, like, getting close to the end of the day, and I go to open up the mold, and it's just a big, gobby mess of just stickiness.
Fuck.
I hate poly foam.
It's like sticking your hand in honey.
I've already been burned by poly foam this season.
Now I'm burned on it again, and I've got to get this thing cleaned up so I can get my foam running in it.
Poly foam is just not liking me this season.
Yeah, it is just not curing well.
No, it's not.
I'm just gonna peel it and we'll take it and run it for foam.
Yeah.
I've never had this much problem with poly foam.
All the teams are still cleaning their shit out.
All I got do is to write our name on it.
Right? Time, everybody! That's time.
I guess we ought to get out of here.
End of day two, Tate and I are right on schedule.
Up top.
We got everything about as ready as possible.
I think we're ready for application tomorrow.
Let's go! Let's go get it.
Let's go get it! So, it's application day.
We have four hours in the lab, and then one hour of last looks at the stage, and we have a ton of work to do today.
How'd that cowl turn out? It's got a couple of funny spots, but it's fine.
Tate will pretty much spend the first two hours working on makeup, and then I'll jump in and spend the second two hours applying the cowl and face, and getting the paint job going on our cool, punk rock alien.
So you're the galactic contortionist.
We're turning you into, like, a-a crust punk sort of uh, circus alien, so - Nice.
- You're a reptilian alien.
We saw that you do a lot of this, so we've got a giant bug on your chest.
We're under a crazy time crunch, so we'll probably be flying around like chickens with our heads cut off today.
Let me see how you have yours.
We want to make sure they're even.
We start applying, and we get the chest and cowl down together.
We've got kind of a complex headpiece, so it takes some time.
I have to kind of cut back in certain areas.
That is all second skinned.
Yeah, it's ridiculous.
A second skin is when you have the foam latex and then the skin and they're not attached.
- But we'll have to - Make it work.
Like, definitely pack-- Yeah, make it work.
Just like real effects artists.
Okay, I need to go check on my bug head.
Okay, yeah.
Go for it.
The head on this little creature that we have on the belly is a bit heavy, so I can make an upholstery foam mold of the head piece.
While that's setting up, I figure out that I can run a simple tension device attached to his thigh, so whenever he bends, it creates that tension so that the head will pop up.
Oh, jeez.
He's getting excited.
Really bad edges.
I'm really worried about this cowl.
Whatever, the judges are used to bad edges.
The last time I was in this competition, the judges said quite often that my face and my cowl didn't meet up correctly, and that's exactly what's happening on this piece.
I think that we maybe have to blend the edge of the cowl und-- like, underneath.
- Yeah? - Yeah.
I don't think we have time for that.
It's gonna look like shit if we don't.
I went home for something like that.
I feel like Alana and I just aren't on the same page.
This piece is not working.
Even though it's Laney's piece, Laney's never been on bottom, but I have, and they'll send me home for this.
Do you like the cowl or you don't? I just think it's too wide.
That's-- When I was looking at it yesterday, I didn't want to say, like, I didn't like it.
Well, you should have, because that's when I was sculpting it before we molded it.
These edges are so awful.
Well, what do you want me to do? Make the call.
I know that if we're on bottom, I'm gonna go home, she's not.
Tell me what to do.
Coming up I can't read your mind right now.
I am so stressed.
This makeup's a mess.
It falls short.
I think she's quite beautiful.
Now it's time to put your makeups to the test.
Tell me what to do.
It's application day, and Alana's just not into the cowl at all.
Honestly, if I was doing this makeup by myself, I'd scrap the cowl.
If I scrap the cowl, then all I did was scales, so if I'm in bottom looks, then I'm gonna go home.
Let me Frankenstein it.
I'll own it.
Like, just let me do this.
The cowl looks so big compared to the face.
Like, step back.
This cowl's not gonna fly.
Even though it's Laney's piece, I know the judges are gonna call me out.
All right.
Let's use his hair.
We're running out of time, so I just finally agree, let's not use the cowl.
Don't you think that's what's right to do? Yeah.
Let's-- let's do it.
I think this should be your call, 'cause you really feel like if we're on bottom, you're going home, and I want this to turn into your makeup now.
That's not fair.
That's fucked up.
Well, I know you're not gonna be confident unless this is off.
So we're scrapping the cowl.
We're gonna go something crazy with the hair and do an awesome paint job.
Let's do this.
Let's-- let's keep you here.
All right, that's 30 minutes, everybody.
That's it! Time's up! - Thank you so much.
- Thank you so much.
I think it looks really good.
I'm confident about this one, but my model's not just gonna be standing there.
He's gonna actually be performing, and my makeup has to stay on all through the performance.
There's so many things that could go wrong, and if it does, you're instantly on bottom.
Let's do it, guys.
- Good luck, everyone! - Good luck.
We get to last looks, and we've got quite a lot still to do.
So I'm going to finish painting the face and Eddie's gonna work on the chest and the body and the wardrobe.
You might want to mix a little more white into it, maybe.
The first thing we got to do is the eyes and the mouth, and while Laura's working on that, I take it and I start basing out his hands and his feet.
- He's still popping up.
- Yeah.
I'm gonna cover that with a blender.
I've never dealt with anything like this before.
Why don't we go like this? In last-looks, I start with getting some color onto the alien's head, and I'm adding more contrast around her eyes.
I also have to finish the mouth.
You see all these white dots that I just put in? The yellow needs to be brought down into it.
We're so far behind, and it feels like I'm a little bit on my own here.
I can't read your mind right now, and I don't-- I can't see what's in your head.
I don't know, I-I feel like I said it.
_ That's time, everybody! There's so much more depth that needs to be in that paint job, but, at this point, I can only just try to own what we've put together.
Oy vey.
Welcome to theFace Off reveal stage.
Tonight, one of you will be eliminated.
Let's say hello to our talented judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening, guys.
- Hey, Glenn.
Three-time Oscar-winning makeup artist, Ve Neill.
- Hi, guys.
- Hey, Ve.
Creature and concept designer, Neville Page.
- Hello.
- Hello.
Hey, Neville.
So this week, your spotlight challenge was to create dark and sexy alien circus performers.
Now, I also told you that your characters would participate in a spectacular performance here on our reveal stage.
But before we see our sci-fi circus, let's take a look at your creations.
I'm really happy with it.
I know Laura is too, so I don't care what anybody else thinks.
This is a cool-looking alien.
Our piece isn't pulled together, and I know we're about to be ripped up for it.
I'm very happy.
I think this galactic contortionist captured our vision.
I think it looks pretty cool.
It's got the punk rock element.
It feels circus-y, even sexy.
All right.
It's time to watch your creations perform with Cirque Berzerk in our very own sci-fi circus.
I think our character looks great, but her makeup has to withstand the performance, so I'm nervous because you never know what could happen.
What do you think of tonight's alien circus performers? Tell us on Twitter using #FaceOff.
Now it's time to put your makeups to the test.
Ooh! Ooh.
That's crazy.
Oh, my God.
Wow.
Judges, I'm sure you're anxious to take a closer look at these aliens.
Funny stuff going on here.
It's a parasite.
I don't understand it at all, actually.
The head I like, and there's a lot of really nice details.
It's really asymmetrical, isn't it? Is it, or is it crooked? Thanks.
The face feels very minimal in terms of anatomy.
You know what's really weird? It's the way they painted this.
It doesn't really go with the scale work they put on it.
I am so stressed out right now.
It's a mess.
I'm terrified I'm gonna go home.
She held together pretty well.
Scrunch your forehead.
There you go.
That's kind of neat looking.
_ _ Look how symmetrical this is.
That's really hard to do that.
- Oh, yeah.
- I think it's beautiful.
Just all this around the eye here.
Great job.
- Thank you.
- Thanks.
This is just so confusing as a detail.
_ _ I do like some of the paint work going on through here.
I absolutely love a lot of the paint work going on on that head.
But the belly is very muddy, difficult to read.
Thank you.
The judges would now like to speak with each of you to learn more about your work.
Tate and Frank, you're up.
Tell us about your design this week, guys.
She's from one of the moons of Neptune.
A space mission crashed into it.
Her tribe was sifting through the wreckage, and they came across the walkman, which had a punk band in it called "Dumpster Duck," which is the name of our character.
There's some definite high points on this makeup.
Who did what on this? I sculpted the face and painted the head.
Tate sculpted the chest, made the mohawk, the tattoos, and lot of the painting, and we both worked on wardrobe.
I love the clean execution of the head, particularly in the paint.
For the time that you had, that's pretty impressive.
The best part about this makeup is the awesome paint job that you did all throughout her body.
Under her skin, where it looks like stained ink, it actually looks like that's the coloring of her skin.
From chin down to waist, it's muddy visually.
I do love the paints, but it's just muddy as a design.
Frank and Tate, you can step back.
Miranda and Eddie, you're next.
So tell us about your concept for your alien circus performer.
Our character is known as the "Galactic Contortionist.
" She is a space siren who lures in other space travelers to become part of the circus.
I sculpted the front of the cowl, and Eddie sculpted the back of the cowl.
I sculpted the face.
Eddie sculpted the chest.
He painted the majority of the body, and I painted the head.
I think she's quite beautiful in a very alien way.
She is very regal.
I love the crown.
I think the paint job is beautiful.
I do, however, think she could have been made to look a little bit more feminine and sexy.
The sexy, I think, is very apparent here, and here's why.
The more symmetrical a person's face is, generally speaking, the more beautiful we find them, and this is beautifully symmetrical with fine fades and transitions with the paint.
Can we see the back please? That's awesome.
It looks like a combination of plant and perhaps sea life.
It works as splendidly as the front of the head does.
There's some gorgeous things happening.
The way you flow up from the cheekbone.
You create the illusion of an ear, and it wraps itself back down into the mandible.
That whole zone is just handled so beautifully in regards to form language.
- Thank you, guys.
- Thank you.
Please step back.
Alana and Laney, you're up.
So tell us about the concept.
He is a space womanizer, and he started the circus to entertain women around the galaxy.
Who specifically did what? Alana sculpted the face, and I sculpted all the scales.
Alana helped refine them.
I also sculpted a cowl that we scrapped 'cause of really bad edges, so my big piece of work didn't make it to the stage today.
It falls short in feeling like a dark, sexy alien.
I get that you're trying to do something different with the skin, but the scales don't transition in its surface quality or utility.
Who did the facial sculpt? - I did.
- It's interesting.
But I don't think that that bottom lip lends itself to him looking sexy or an alien.
I very much like the beginning of the idea of what started on the side of the nose, where you started to do, like, some layers around his nostrils, but the nose is the only thing that started to go in the right direction, and even that's not a complete idea.
Most frustrating is the fact that he looks goofy carnival, so I don't read him as alien.
I just really wish that you would have painted it so that it made sense.
The colors are gorgeous, but the purple is just kind of like-- Psht! Psht!-- all over the place.
I think something went haywire.
Alana and Laney, please step back.
Laura and Roy.
Tell me about this concept.
Our character is a creature-tamer and performer, and he also has a parasite-host relationship going on.
I sculpted the cowl.
Laura did the face.
We both worked on the chest.
Laura did the majority of the sculpting on that, and I fabricated the outfit and mechanized the head on the parasite.
As much as I love the idea, it just feels like it could have been done better.
Taking that parasite off his chest, putting it onto his neck and the upper back would have integrated better there, and it would have solved a lot of the design problems that I have.
But I do like the shape and color choices of the head, so this is a mixed bag for me.
I'm not really fond of the blue coloring on this alien.
More color in different areas to break up that blue would have been really helpful in this makeup.
The overall vibe of the head and some of the form choices, I think, are good, but I see no point and a total waste of effort in the insect just hugging him perfectly on his chest.
It's not your best effort.
Laura, Roy, please step back.
All right, guys, the judges have heard what you have to say.
If you'd please head back to makeup room while they deliberate and the home audience tweets about their favorites using #FaceOff.
All right, judges.
Why don't we talk about tonight's makeups.
Let's start with Tate and Frank.
It's sculpted well, it's applied well, and the color is gorgeous.
I love that paint job.
It looked like that's what her skin was.
And it was a good compensation for the lack of physical texture on the face.
All right, let's move on to Eddie and Miranda.
Ooh, I think this one was cool.
I loved that framework around the face.
It was like a beautiful crown.
I think the sculpting was really beautifully done.
I thought Miranda was gonna tell me that she sculpted the whole head, front to back.
Eddie did a great job continuing that aesthetic into the back of the head.
I did really appreciate the fact that it looked like it was one cohesive sculpture.
All right, let's move on to Alana and Laney.
He didn't really look like an alien, and the paint job was crap.
The scales as a pattern, I don't think they were done very well.
Their efforts this week were hopeless.
The facial sculpt, which sets the tone for the whole makeup, is not alien, is not dark, and is not sexy.
All right.
Let's move on to Laura and Roy.
This is a concept I cannot get behind.
This symbiotic relationship with an insect-like thing that was poorly designed and executed.
An overwhelming display of poor self-editing.
They jumped on this concept of "Let's stick something right there.
How genius is that?" The color palette was so boring.
- I know.
- It was just a pale blue alien.
All right, judges.
Have you made your decisions? Yes, we have.
- We good? - Yeah.
Okay, let's bring 'em back out.
Glenn, tell us about the top teams.
We really liked several of the makeups tonight, but there was one that stood out above the rest for us.
All right, Glenn.
Tell us about the top teams.
We really liked several of the makeups tonight, but there was one that stood out above the rest for us.
Eddie and Miranda.
We loved the shape of the head, and we thought that the paint job just worked to accentuate it.
Well done.
- Thank you.
- Thank you guys so much.
Eddie and Miranda, great job, but, as you know, we can only have one winner.
Glenn? The winner of this challenge is Miranda.
Once again, a brilliant application.
Your sculpting, blending, and painting, all superior.
- Really well done.
- Thank you.
I feel so proud to win my fourth challenge.
I think that that's quite amazing, and I'm so honored.
_ Miranda, congratulations.
You and Eddie can head backstage.
Thank you, guys.
Good job, Miranda.
Glenn, tell us about the bottom teams.
There was only one bottom look for us tonight.
Alana and Laney.
All right, that means Laura and Roy, Tate and Frank, you guys are all safe.
Please head back to the makeup room.
Congrats, guys.
Alana and Laney, if you'd please step forward.
Laney and Alana.
Despite the obstacles you faced, you missed some really simple opportunities to correct course, and therefore delivered a subpar makeup.
All right, so who is going home tonight? The person going home tonight is Alana.
No! I'm so sorry, Alana.
I'm so sorry.
I'm so sorry.
Alana, we didn't think that the character looked like a dark, sexy alien, and that started with the face.
I said this once before, and I'll say it again.
This is the best stress I've ever been under, and I've learned so much from everyone here, especially you guys.
Alana, I'm so sorry, but you have been eliminated.
Laney you are safe for this week.
If you'd please head backstage.
Alana, I'm so proud of what you've achieved.
I love your hunger.
I love your passion for this.
I also know that we have not seen nor heard the last of you, sweetie.
I may be gone, but I'm not over.
Alana it's been great having you here with us.
If you'd please head backstage and pack up your kit.
Thank you.
I'm sad, I'm disappointed, but I'm proud.
It's me.
I really do believe in myself.
That's something I couldn't ever say before Face Off.
I know that this is just gonna be a motivating factor for me to go home and keep sculpting, keep painting, and keep being inspired by the wonderful people that I'm surrounded with.
I'm not gonna stop after this.