Face Off (2011) s05e13 Episode Script
Swan Song
Welcome to the season finale of Face Off.
Tonight, the stage is set for a sensational showdown.
In the battle of veterans versus newcomers, just three veterans remain, but only one will win it all.
This is it.
This is for all the marbles.
Laura.
She's come back and outdone herself.
I'm not just doing it for myself.
I'm doing it for my husband and my mom.
Tate.
You did some really cool stuff.
Very cool makeup.
This is not about redemption to me.
Winning Face Off is exactly what I need for my career.
Roy.
Roy comes up with these gigantic ideas.
I want to win this for me and my wife and for my kids.
But in the struggle to be crowned champion, some will crumble under the pressure.
You need to get on the same page.
It's difficult to explain a concept that doesn't exist.
- Wow.
- The seams are horrible.
Fuck.
There's so many holes in that mold.
This is the worst position I've ever been in.
It all comes down to one final dance with destiny.
In the end, one will win a VIP trip from Kryolan Professional Make-Up to one of their a 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
Being in the finale, I still can't believe it.
After being almost in this place before, it's very exciting.
I'm pinching myself to make sure I'm awake.
Hi, baby.
I come downstairs, and I see my wife, Melissa.
I made it! I am so proud of you.
I knew you could do it.
_ _ I see not only my mother, but there's also my husband.
Are you sleeping, eating? Calm down.
It's all good, mom.
I see my mom and dad on the laptop.
It's definitely what I need, you know, to power me through the finale.
I got one more challenge.
That's it.
You need to go win this thing and come home to me.
I'm gonna do my best.
My wife, Melissa, she's been supportive in every aspect of my career.
I want to win this for her and for my kids and for me.
This is it.
This is redemption.
- Never give up.
- Never surrender.
It's such a treat, such a nice thing, to see them and know that they're rootin' for me back home.
You got it this time.
_ The one thing that makes us love you like we do is your heart.
- Thank you.
- Go Bubba go.
It's good to talk to my family because they remind me of the person that I am.
After seeing them, I feel renewed and definitely ready for the challenge.
- Bye.
Love you.
- Love you.
- Sci-five.
- Sci-five.
I just want to make 'em proud.
We walk into the lab, and this is it.
This is the last time.
This is the last challenge.
I've got to be the best, so hopefully there's enough creative energy for a win.
Congratulations, and welcome to the finale.
Thank you.
At the beginning of this season, we pitted the veterans against the newcomers.
Now, only veterans remain.
Your final spotlight challenge will delve into the classical world, where dance is one of the highest forms of expression.
While special effects makeup is typically associated with film, it is also often used on the stage.
So, with that in mind, you will be creating makeups for a unique performance of one of the most iconic ballets of all time Swan Lake.
Aw! That was phenomenal.
Thank you so much.
The tragic plot of Swan Lake involves a beautiful maiden who is cursed by an evil sorcerer to live out her days as a swan and only return to her human form at night.
Your spotlight challenge is to create two characters, the maiden as she is transforming into a swan, and the wicked sorcerer who cast the spell on her.
Ooh.
You will be applying your makeups to principal dancers from the Los Angeles Ballet, and three days from now, they will be performing in front of a live audience.
It's amazing.
Oh, crap.
Ballet.
Dance will restrict so many ideas that I want to do.
This is definitely a difficult challenge.
Obviously, there is a lot on the line this week, so I brought you some help.
Come on out, guys! Yeah! Yay! All right, now you will each get to choose one veteran and one newcomer to join your team.
Laura, you get to chose first.
- Miranda.
- Let's do it, girl.
- Roy.
- I got to take Frank.
I gotta pick somebody as crazy as I am.
- Tate.
- Alana, get over here.
I got you, Master Tate.
We're gonna do this.
What's up, punk? I'm gonna go with Eddie.
I'll take Scott.
Lyma.
We're about to work for this, Boo.
You are almost ready to go, but I got a twist for you.
Always.
Swan Lake found blockbuster success in Darren Aronofsky's Black Swan, which was set in modern-day New York.
However, the story was originally set in the middle ages, which shows that this tale can be set anywhere.
So with that in mind, you will each select a unique era that must be incorporated into your designs.
They are The Roaring '20s the Industrial Revolution the Ming Dynasty and the Italian Renaissance.
Tate, you're first to pick.
Industrial Revolution.
- How did I know? - Laura, you're next.
Italian Renaissance.
And Roy.
- Ming Dynasty.
- Cool.
Okay, go ahead and get started on your designs.
I'll be back later on with my dad to see how everything is coming along.
- Cool.
- Bye-bye.
- Thank you.
- See you.
I'm gonna put out a concept, and feel free to add to that.
When we sit down to sketch, I'm trying to make characters look like they have elements of the Italian Renaissance within them.
For the female, it's all golds and pearls, and I would like to put a crown, slightly alter the shape of her head, and make it look as though her clothing is starting to melt into her skin.
Let's go on to the evil sorcerer.
Sorcerers, in my head anyway, always have those very pointed shoulders, and they have a crown.
Dark features, and of course he's gonna have a staff of power.
If you got a good fabric that will flow Mm-hmm.
It'll extenuate his whole dance.
Yeah.
That might be good.
Since we're doing the Industrial Revolution Industrial Revolution.
I really want to emphasize the pollution versus purity.
With my sorcerer, I'm incorporating the Industrial Revolution into his character by making him smokey and soot-covered and putting smoke stacks into his head and chest.
I want the swan to be purity.
You know what I mean? So there's that contrast between them.
I'm making the swan feel like it's pulling out of her, so I come up with this idea of putting the swan on the arm and a wing in the head, and a swan profile coming out of her chest.
And then on the face, I want to keep it-- - Soft? - Soft but beautiful.
Okay, do I look like I go to the ballet a lot? So, I sit down with my team.
We start going over ideas.
I feel like I'm definitely struggling on this one.
You know I'm just not feeling it.
I don't know if it's just because it is ballet and Ming Dynasty that, you know, I'm just-- I feel lost.
I'm open to any ideas and input.
So maybe instead of it being she's enchanted, maybe he's turning her into an automaton.
Yeah.
Since I don't know where I'm gonna go with this makeup, I'm going with Frank's concept of the automaton.
So our sorcerer is really an inventor, and he creates mechanical pieces that people think are magic, and he's actually created this automaton, which is mechanical, that's turning from a human form into a swan.
So I just go ahead and let Frank and Scott start sculpting.
Frank starts working on our sorcerer and Scott starts workin' on the face appliance for our swan, and I pull some clay and start trying to work on some feather pieces.
What are you thinking about for her body? I'm not-- I'm thinking about it.
Yeah.
This is blocking-out day.
Miranda is blocking out the cowl and Eddie is blocking out the chest of the sorcerer, and I start on the chest piece for our swan.
I'm going to try to get as much blocked out in clay as I possibly can today.
That's looking really nice.
I'd still bring the beak out just a little bit.
The most important part as team leader is that I see my vision through the way I want it to be, which means that I'm going to have my hand in all the sculptures.
Um, Tate? I have Lyma working on some bird scaling textures for the hand and for the arms.
It's not going well.
Lyma's sculpting very flat, and I don't like it.
Can I say something? Check this out.
On some of 'em, add a little piece on the top to get some dimension.
- You sure you want that? - Yeah.
It's my ass on the line.
She needs to stop thinking for herself and start listening to my delegation.
They don't have to overlap, but some of 'em, just raise up above the others.
Okay.
Hey, guys! - Hey! - Hey, guys.
Here for a final walk-through.
How are you showing us that there is a morphing going into the swan? The thought was to take the wings so they're coming forward and wrapping around her body this way.
Is it going to wind up being beautiful, or is it gonna look like a bony chest from a horror movie? This isn't monster.
It's not alien.
- It's the ballet.
- All right.
The era we picked was the Industrial Revolution, so I really want to work in a lot of metal fabrication as well as gears and things of that nature, kind of steam-punky.
One thing I want to warn you on is, because it's pollution, because it's smoke, because it's dirt and grime and all like that, don't get it too dark.
I feel it's the one thing that you've been doing all season.
You've been lucky, so be careful right here because something like that could be a problem.
Yeah.
That's a good idea.
Frank had this great idea of our guy being, like, an alchemist and turning the swan into an automaton.
- Automaton.
- Automaton.
Do you have any sketches of the swan? We're still trying to figure all that out.
Now, this is one of the things that's happened in the past.
The person that was in charge didn't keep it all coordinated.
The thing about team challenges is that you want to make sure that it looks like the same person did everything, especially in the finale, which right now, that's not what I'm doing, 'cause I got one person doing one character and one person doing the other, and then I'm oblivious to what's going on.
I want to win, but if I don't figure this out, I'm really screwed.
Coming up There's so many holes in this mold.
I think my swan is ruined.
The seams on the cowl are horrible.
- There's no next week.
- Yeah.
You need to get on the same page.
The winner of Face Off is.
So, tell us about your whole concept and what you're working on.
We're still trying to figure all that out.
Today's the first day of the finale challenge.
We have to create a sorcerer and a swan that's in mid-transformation, but it's difficult to explain a concept that doesn't exist.
There's no next week - Yeah.
- and it has to work.
Really get on the same page.
We're not off to a good start Can't wait to see it.
but I've never been the type to give up.
I'll figure something out.
All right, everybody.
Good luck! - Bye! - Bye-bye.
_ Cool.
Yeah.
Love it.
End of day one, and we've got a good pace going on.
I feel like everybody is working very smoothly, and I feel like we've started out on a high note.
All right.
That's time, everybody.
Today could have been much better.
I'm not jiving with the concept for my swan.
I'm not sure where this is gonna go, but I really want to win this time.
Whoo! It's day two in the lab.
We've got ten hours today, and there's a lot to do.
- Don't have that curve in it.
- Oh, okay.
Getting home and, you know, gettin' a little bit of rest last night really cleared up a lot of things, and I'm afraid Frank's idea of doing a mechanical swan is gonna look too much like what Tate is doing, so my new concept is that our sorcerer is a Chinese alchemist, and the girl turns from human to gold to swan.
That way, we can still go with what we've got going and we're not losing any time with anything that we've already started.
This is a long lab day, and the goal is to get these two chest pieces molded, and Miranda and I are done with the detail on the chest, so Eddie gets to take those back into the molding room and start molding.
I was thinking about it last night.
These guys, we're gonna have to put on hold because we're shifting over to porcelain.
Okay.
I've decided that I didn't feel comfortable with the Industrial Revolution not being integrated into my swan.
So my new concept is that the sorcerer wants to capture the spirit of the princess inside this mechanized vessel, so she's a porcelain-skinned doll with all these underlying brass gears and stuff.
And I want to see you paint some of these.
Deciding to go with the mechanized swan eliminates the need for the skin textures that Lyma's been working on, which is unfortunate, but I'm going to give her some feathers and I'm gonna tell her what color and we'll see how that goes.
_ Time's almost up and we're pushing it on the swan's cowl.
It's crackin' everywhere.
It's just-- it's fallin' all to pieces.
Fuck.
There's just no way to salvage this thing, so we'll have to re-do this one.
Oh, damn.
I'm pretty ticked.
I feel like I've let Roy down.
I really wanted this cowl mold to come out nice.
We'll make it beautiful tomorrow.
_ Okay! Time.
That's it! I'm trying to be laid back on this one.
I don't want to be, like, a tyrant, but that cost us at least three hours, and that's a pretty good-sized hit.
Oh, yeah.
Day three, we have I'll start on this puppy and figure out what's goin' on.
We have to get the cowls into the mold room as fast as possible.
- This okay, like, how it is? - Yeah.
So Miranda is finishing up the cowl for the sorcerer.
I'm going to finish up the cowl for our swan.
We've got a lot of things to do today.
Scott's got to re-sculpt the cowl and get that mold made, and I want him to take time.
I want to make sure that it gets done right, so I tell Scott, "As long as it's ready by the end of the day, that's fine.
" Frank still has to make the mold on his cowl that's sculpted.
I'm starting making stuff for the armor and start working on the cloak.
Do you want them to be uneven like that Yeah.
or do you want me to round them? Okay.
No, I want them to look like - the brick has chipped at the top.
- Okay.
Alana and I bounce back and forth on the sorcerer's crown and shoulder pads.
I'm going to have Lyma feathering up the chest, feathering the head, and beginning the arm feathers.
You might want to start with the long feathers first and work your way backwards.
That way, they lay correctly over each other.
Here you go.
We finish up the cowls, so Eddie begins molding, and Miranda and I continue to work on the faces.
Yeah.
We got three hours.
The sorcerer's cowl has two horns that intertwine and one horn coming up the front.
This is very difficult to mold, so I create a plug that I'm gonna cut out once the piece is run in foam.
Everything seems to be going well, but I'm rushing and rushing just to make sure that everyone gets done by the end of the day.
Looking good, girl.
Looking good.
Our sorcerer has a chest piece, and Frank has sculpted out chest armor.
Then we're gonna take some L200 and cut out the swan design that he came up with and glue it directly to the chest so it looks like it's all one piece.
Take it out and hit it with the spray gun.
It'll spray that water clay right out.
So, while I'm molding the cowl for the sorcerer, Alana runs outside to clean the cowl mold for my swan.
Fuck.
And all the sudden, she comes running back in, white-faced.
There's so many fucking holes in that mold.
- It's fucked up.
- Really? And I-I can't even get the fucking L200 out.
The clock's dwindling down.
I still have a lot to do.
Let me go take a look.
I'm worried.
I don't have time to re-sculpt it, and I definitely don't have time to re-mold it.
The inside of the mold is full of holes, so when you run foam in it, all you're gonna get is the shape of the swan head but none of the details, so at this point, the overall look of the swan character could be ruined.
I can't go out like this.
It's day three, and the inside of the swan's cowl mold is full of holes, so instead of finishing my piece for the sorcerer, I'm outside stuffing clay into holes in my mold.
I'm trying to keep myself together, but I'm just really upset.
- Did you finish the cowl? - Yeah.
Because I had to waste a lot of time fixing the swan's cowl mold.
I don't think I'm gonna get my sorcerer mold done in time.
That's time, everybody! I don't get my sorcerer mold done in time for foam, which means that tomorrow, on the day of application, I'm going to have to run it in latex and polyfoam.
and this is the worst position I've ever been in.
All right, it looks like we've got everything in good shape.
It's application day for the finale.
We've got four hours in the lab, and then one hour at last looks.
Oh, that's great.
She may actually be able to dance with it.
This is definitely the most important day that I've had on Face Off.
It's make-it-or-break-it time.
The seams on the cowls are horrible.
- Wow.
- Yeah.
It's on the other side too.
There's foam where there should not be foam.
But the good news is we still have the same form that we started out with.
It's just gonna set us back maybe an hour.
We're gonna get you guys into wardrobe.
- They're gonna take care of you.
- Tate.
I have a few things to do outside.
Which wardrobe do you like the best for him? Ooh.
This is the day that defines all of my work, and yesterday was a setback because I didn't get my sorcerer mold done in time.
So, while I'm finishing that, I've got Lyma beginning the arm feathers and Alana on pre-application on the sorcerer's face.
There's $100,000 on the line.
Isn't that fucking insane? That's pretty cool, Roy.
Oh, yeah.
That looks so good.
everybody! Yeah, it fits great.
Okay, can you get some sort of-- Oh, perfect.
The seams on the cowls were very rough, but once we get past that, we are really good on time, and there's a wonderful thing that we add to the swan's wardrobe, and that's the giant pearl choker.
There's six edges now that I don't have to cover up because I'm covering them with wardrobe.
Strategically, that's probably the smartest thing I do all season.
That looks great, Laura.
It's coming together.
Black, red, yellow, orange! Do you need to go jump on that? Application's taking a lot longer than what I thought.
All right, I got to start layin' feathers now.
If not, we're not gonna get 'em laid.
I'm gonna start putting the feathers up the back and on the cowl.
Yeah, as you move, they'll ripple.
The time's just slippin' away.
That's one hour, everybody! One hour! We're gettin' there.
We're gettin' there.
Okay.
We're good back here.
Everything's starting to come together.
The appliances look nice.
Lyma's doing the body paint.
It looks good.
I'm starting to see a little light at the end of the tunnel here.
- How long do we have? - Seven minutes.
Um-- oh! Teeth.
- I am busy.
- You got feathered hair.
Literally feathered hair.
I'm here.
- Time! That's it! - All right, guys.
- Let's get out of here, man.
- Whoo.
Got a lot done.
Still have a lot to go.
We're not in a great spot.
There are details that could make or break my characters.
This is reminding me a lot of season three.
I was at the finish line, and I tripped, and gosh, I don't want that to happen again.
We're at the theater where the performance is gonna be at, and this is it.
This is for all the marbles.
Honestly, I'm as nervous as I was the very first challenge that we had on Face Off.
This last hour is tremendously important.
I have to apply and completely paint the crown and the shoulder pads that I just made this morning out of latex and polyfoam.
So, lots of pressure.
I just hope that it fits my model correctly.
Frank is gonna handle the application on the sorcerer, 'cause it's gonna take me and Scott both to apply all the feathers and to get everything painted on the swan.
Yeah, let's see what we got goin' here.
There is so much work to do.
Eddie and Miranda are double-teaming the sorcerer, and I'm working on the swan.
I need to give her lipstick, eyeliner, all these details that, hopefully, the judges will appreciate.
That's time, guys! Drop the brushes! We're done! Roy, it's time.
Time's up, and I feel really good about these makeups.
They both look incredible.
I think that we have met every part of this challenge as a team.
- Thank you.
- They look so fucking good.
Finally, it's over.
It's just a wash of relief.
We made exactly what I wanted.
Doing this in two days - Let's see him.
- is insane.
That looks so good.
My biggest concern is the latex and polyfoam crown flying off.
If it was foam latex, it would have been custom fit to him, so I'm not out of heart-attack-land yet.
Coming up I'm nervous.
I can't stop shaking.
This is the finale.
You achieved an iconic look.
She may be the strongest one on stage tonight.
The two of 'em together, the dance was exquisite.
Ladies and gentlemen, please welcome McKenzie Westmore.
Welcome to the Face Off season finale.
Tonight, we are celebrating one of the dance world's highest art forms with a spectacular performance of Swan Lake.
Now, for their final spotlight challenge, we asked each of our finalists to create two original makeups.
A beautiful maiden as she is transforming into a swan, and the evil sorcerer who cast the spell on her.
We also asked the artists to incorporate a unique era into their designs.
Now, with that, I would like to introduce our panel of judges.
First off, we have owner of Optic Nerve Makeup Effects Studio Glenn Hetrick.
Three-time Oscar winning makeup artist Ve Neill.
Creature and concept designer Neville Page.
All right, everybody.
It is time to get started.
Our first pair of makeups is from Roy, and he chose the Ming Dynasty.
Let's take a look.
I feel really good about these makeups.
It fits ballet, but it also fits the Ming Dynasty, so I think that we have met every part of this challenge as a team.
The female character is beautiful yet striking, and the sorcerer's got a lot of fine details.
I'm feeling very proud for myself, but also my team.
Wow.
We pulled it off.
I spent three days thinking I was about to put a dead goose on stage, and instead, I end up with really remarkable-looking swan.
I'm actually very proud of both makeups.
All right, everybody.
Well, that was just the beginning, because now it's time to put them all to the test in a unique performance from the Los Angeles Ballet.
Yes.
I present to you, Swan Lake.
Wow! That was amazing! I want to give a huge thank you to the Los Angeles Ballet for creating such a beautiful piece.
And to our studio audience, thank you for being with us tonight, now it's time for the judges to take a closer look at the makeups and deliberate in private.
So, good night everybody, and thank you again for being here.
Thank you, guys! Judges, why don't you come take a closer look at tonight's characters.
From far away, the makeups look like they held up, but during the performance, anything could have happened, so I'm nervous.
This is the finale.
I can't stop shaking.
We want to know what you think of tonight's transformations.
Tell us on Twitter using #FaceOff.
I like the way it comes like feathers.
And the gold here, I like that.
- Can you turn around, please? - The wing thing's pretty cool.
I like the hair in feathers.
It's a really cool shape.
You can come back around, honey.
That's a very cool art piece.
And I do love the palette.
I want you to try to emote through the makeup.
It moves all right.
It looks like gilded ceilings with ivory molding.
It's theatrical enough that it's working from a distance.
Whoa.
That's a lot of work on him.
- Can you tilt your head down? - Wow.
I mean, it creates such a unique character.
Thank you.
Look at all the little gears and stuff.
This is really beautifully handled.
Can you turn to the side for us? Look at that.
It's quite amazing.
Really does a subtle Industrial.
This is really interesting.
Wow.
It's a great beard.
Can you turn to the side for us? - That's a great profile.
- Yeah.
- Thank you.
- Thanks.
So, judges.
How did they do tonight? I think it was absolutely fantastic.
I feel very confident that we have the right people here tonight.
I'm just really happy with the way the makeups turned out.
Good work, guys.
I think it's some of the most beautiful work that I've seen to date.
Well, the judges would like to speak with each of you to learn more about your work.
Roy, you're up first.
Roy, tell us about your concept.
I chose the Ming Dynasty.
What I decided to do is make my sorcerer also an alchemist, and so whenever he takes and casts a spell she actually turns to gold before she turns into feathers.
I think it's absolutely gorgeous, particularly your sorcerer.
Shrouding him with all the swan forms is quite brilliant, and it makes this really cool profile and silhouette for your sorcerer and gives it a very Asian flare.
With your swan, you could have handled that feather transition into her skin a little bit better, but they certainly look like they go together and they looked absolutely gorgeous dancing together.
Thank you.
I noticed that you did a little treatment on her nose.
Now, what was that meant to be? That's meant to start progressing into the bill, because that-- I didn't want to take and add to the nose, you know, so much, 'cause I didn't want it to look comical.
I think that was very successful.
I like the way you integrated the black eye makeup above the cheekbone.
That's really a neat transition.
I think you did a great job.
Thank you, thank you.
The female character, a little odd for me in places, but the overall design of your characters is so profoundly strong that you achieved your own iconic look, and that's one of the greatest things you can ask for in character design.
Thank you.
Roy, please step back.
Laura.
Please tell us how you brought all of this to life for us.
I wanted to make a conjurer sorcerer who could morph other people.
So, we gave her a crown and gold leaf to bring home the Renaissance, and we tried to have her mimic a Roman statue.
I think that you did a really marvelous job.
I absolutely love how her bodice looks like it's morphing into something, and then the shoulder piece is like the start of wings.
I would have liked to have seen a little bit more feather action on her head, I think, because it's getting a little helmet-y, but the two of them together, the dance was absolutely exquisite.
Thank you.
You've got some great texturing happening.
There's a real beautiful, classic silhouette that she has.
With regard to his head, there's a massing that's occurring that is changing the beauty of the person underneath, but there's such wonderful detailing, I look beyond that.
Fantastic work.
Thank you.
The savage grace with which you approach the swan is so unique.
A little bit more fantasy would have been too much, so I think you hit a perfect balance with the Renaissance art concept.
Thank you.
Laura, if you'd please step back.
Tate, please step forward.
Okay.
So, tell us about your time period and how that influenced your concept.
We had the Industrial Revolution.
Our sorcerer built this gear-driven vessel and cast a spell to conjure her soul into it, and she started transforming into this metallic swan.
There's some really bold choices that create exceptionally strong characters.
You have a very unique silhouette on both of them, but particularly your swan, and even with your sorcerer feeling a bit dry in terms of paint, it feels appropriate because he's all dusty and void of life, hence the cataract eyes.
- I'm really pleased to see this.
- Thank you.
I think that your swan is quite beautiful.
This is the epitome of asymmetry working properly.
She may be the strongest swan that we have onstage tonight.
With the sorcerer, I think that it was headed in the right direction, but I think the towers, to me, seem a bit medieval.
I think that it needed to speak more directly to the architecture of the Industrial Revolution.
She is stunning.
Could you put your arm out again for me? Look at that.
It's, like, the long neck, and then these wings sweeping back.
I-- She-- I think she's absolutely stunning.
- Thank you very much.
- Tate, please step back.
Okay.
Thank you all.
Appreciate it.
Thank you, guys.
All right, guys.
The judges have heard what you have to say.
If you'd please head backstage while they decide who will become this season's champion.
All right, let's talk about our finalists' makeups.
Why don't we start with Roy? Remember, he had Ming Dynasty.
Roy's ability to not only give it an incredible silhouette and profile, but to integrate all of the swans throughout it.
I think that was quite beautiful and well thought out.
His overall palette on both really worked and was quite harmonious.
I liked how they handled the covering the breasts with the sculpted feather action.
I think they probably could have used a few more feathers within that area, but all in all, I think that it created a really pretty profile for her.
That is a good point, because even though the face did not feel very pretty, treating her with an open breastbone and stomach was actually very sexy and very provocative.
All right, let's move on to Laura.
She had the Italian Renaissance.
They're both so stunning and so well done.
Her swan is exquisite.
Her treatment with the feathers and working all that in together, and the beautiful breast plate is just amazing.
And her sorcerer was unbelievably gorgeous.
There was so much work in that.
I'm-- I was very impressed.
The facial detailing was pretty incredible.
- It's quite beautiful.
- I'll tell you what.
When you saw the two of them dancing together, that was the highlight of the performance for me.
Mm-hmm.
And they were of the same world in the context of a cohesive set of characters.
Yes, ultimately, they look like great makeups on ballet performers, which is what - Oh, yeah.
- in essence, our challenge was.
All right, let's move on to Tate.
He had the Industrial Revolution.
- I loved Tate's swan.
- Oh.
I thought it was really ingenious how he pulled it all off to the side.
I mean, what a great idea.
The storytelling was great.
The reveal on the arm - Yes.
- on the knee.
All those little details.
Those are some really good ideas.
So much of it's concentrated on the swan Yeah.
and not enough of it on the sorcerer.
Just a little peek-a-boo of a gear.
- Yes.
- And I was like, "Oh! That--" If you just took that and magnified it throughout.
The sorcerer I struggle with.
He looks like a derelict.
Like a transient or something, instead of a powerful sorcerer.
That's in the facial sculpt.
It didn't read like what it was supposed to.
Even though we struggled with the sorcerer, that silhouette, the fact that he broke it up so intentionally asymmetric gave them one of the most unique silhouettes.
And that is so important in performance art.
- Yes.
- Yeah.
This is so difficult, because we've got three amazing artists, each of them representing their particular skill set so well, and I'd have to say this is the tightest race that we've had on the show to date.
All right, judges, have you made your decision? - Yes.
- Yes, we have.
Let's bring them back out.
One of you will become the winner of Face Off.
So, Glenn, why don't you tell us about tonight's makeups? Roy, your color palette was a perfect fit for the Ming Dynasty, and your characters really felt like they were from the same world.
Laura, we loved the unexpected ideas in your design, and we felt that they complimented the Italian Renaissance incredibly well.
Tate, your swan character had a truly fantastic silhouette, and the use of gears was a great way to communicate the Industrial Revolution.
Glenn, who is the winner of Face Off? The winner of Face Off is Glenn, who is the winner of Face Off? The winner of Face Off is Laura.
Yeah! Look at that! You did it.
Congratulations, sweetheart.
- Laura, congratulations! - Thank you so much.
You are the winner of Face Off! I win! I win, finally! I can't believe it.
That was pretty awesome.
Here are the keys to your new Fiat.
Wow.
Congratulations, and nice work, gentlemen, as well.
Thank you.
I feel really proud of every makeup I've created.
I feel really proud of the obstacles I've overcome.
Congratulations.
This was, again, a fantastic experience that will probably go down as one of the best I've ever been through.
I came here to make it this far.
That's where I wanted to be in season three, so given this second chance to do it again and actually get there is icing on the cake.
Sometimes you have to eat your cake without icing, but it's still cake.
My family and friends deserve this win as much as I do for supporting me on this crazy career choice that I've chosen.
That's all I ever wanted in life anyway, was just to be an artist, but I'm so lucky that I get to use my craft and create creatures every day and have fun.
Tonight, the stage is set for a sensational showdown.
In the battle of veterans versus newcomers, just three veterans remain, but only one will win it all.
This is it.
This is for all the marbles.
Laura.
She's come back and outdone herself.
I'm not just doing it for myself.
I'm doing it for my husband and my mom.
Tate.
You did some really cool stuff.
Very cool makeup.
This is not about redemption to me.
Winning Face Off is exactly what I need for my career.
Roy.
Roy comes up with these gigantic ideas.
I want to win this for me and my wife and for my kids.
But in the struggle to be crowned champion, some will crumble under the pressure.
You need to get on the same page.
It's difficult to explain a concept that doesn't exist.
- Wow.
- The seams are horrible.
Fuck.
There's so many holes in that mold.
This is the worst position I've ever been in.
It all comes down to one final dance with destiny.
In the end, one will win a VIP trip from Kryolan Professional Make-Up to one of their a 2013 Fiat 500, and $100,000.
Who will be the next great name in movie magic? Only one will win Face Off.
Being in the finale, I still can't believe it.
After being almost in this place before, it's very exciting.
I'm pinching myself to make sure I'm awake.
Hi, baby.
I come downstairs, and I see my wife, Melissa.
I made it! I am so proud of you.
I knew you could do it.
_ _ I see not only my mother, but there's also my husband.
Are you sleeping, eating? Calm down.
It's all good, mom.
I see my mom and dad on the laptop.
It's definitely what I need, you know, to power me through the finale.
I got one more challenge.
That's it.
You need to go win this thing and come home to me.
I'm gonna do my best.
My wife, Melissa, she's been supportive in every aspect of my career.
I want to win this for her and for my kids and for me.
This is it.
This is redemption.
- Never give up.
- Never surrender.
It's such a treat, such a nice thing, to see them and know that they're rootin' for me back home.
You got it this time.
_ The one thing that makes us love you like we do is your heart.
- Thank you.
- Go Bubba go.
It's good to talk to my family because they remind me of the person that I am.
After seeing them, I feel renewed and definitely ready for the challenge.
- Bye.
Love you.
- Love you.
- Sci-five.
- Sci-five.
I just want to make 'em proud.
We walk into the lab, and this is it.
This is the last time.
This is the last challenge.
I've got to be the best, so hopefully there's enough creative energy for a win.
Congratulations, and welcome to the finale.
Thank you.
At the beginning of this season, we pitted the veterans against the newcomers.
Now, only veterans remain.
Your final spotlight challenge will delve into the classical world, where dance is one of the highest forms of expression.
While special effects makeup is typically associated with film, it is also often used on the stage.
So, with that in mind, you will be creating makeups for a unique performance of one of the most iconic ballets of all time Swan Lake.
Aw! That was phenomenal.
Thank you so much.
The tragic plot of Swan Lake involves a beautiful maiden who is cursed by an evil sorcerer to live out her days as a swan and only return to her human form at night.
Your spotlight challenge is to create two characters, the maiden as she is transforming into a swan, and the wicked sorcerer who cast the spell on her.
Ooh.
You will be applying your makeups to principal dancers from the Los Angeles Ballet, and three days from now, they will be performing in front of a live audience.
It's amazing.
Oh, crap.
Ballet.
Dance will restrict so many ideas that I want to do.
This is definitely a difficult challenge.
Obviously, there is a lot on the line this week, so I brought you some help.
Come on out, guys! Yeah! Yay! All right, now you will each get to choose one veteran and one newcomer to join your team.
Laura, you get to chose first.
- Miranda.
- Let's do it, girl.
- Roy.
- I got to take Frank.
I gotta pick somebody as crazy as I am.
- Tate.
- Alana, get over here.
I got you, Master Tate.
We're gonna do this.
What's up, punk? I'm gonna go with Eddie.
I'll take Scott.
Lyma.
We're about to work for this, Boo.
You are almost ready to go, but I got a twist for you.
Always.
Swan Lake found blockbuster success in Darren Aronofsky's Black Swan, which was set in modern-day New York.
However, the story was originally set in the middle ages, which shows that this tale can be set anywhere.
So with that in mind, you will each select a unique era that must be incorporated into your designs.
They are The Roaring '20s the Industrial Revolution the Ming Dynasty and the Italian Renaissance.
Tate, you're first to pick.
Industrial Revolution.
- How did I know? - Laura, you're next.
Italian Renaissance.
And Roy.
- Ming Dynasty.
- Cool.
Okay, go ahead and get started on your designs.
I'll be back later on with my dad to see how everything is coming along.
- Cool.
- Bye-bye.
- Thank you.
- See you.
I'm gonna put out a concept, and feel free to add to that.
When we sit down to sketch, I'm trying to make characters look like they have elements of the Italian Renaissance within them.
For the female, it's all golds and pearls, and I would like to put a crown, slightly alter the shape of her head, and make it look as though her clothing is starting to melt into her skin.
Let's go on to the evil sorcerer.
Sorcerers, in my head anyway, always have those very pointed shoulders, and they have a crown.
Dark features, and of course he's gonna have a staff of power.
If you got a good fabric that will flow Mm-hmm.
It'll extenuate his whole dance.
Yeah.
That might be good.
Since we're doing the Industrial Revolution Industrial Revolution.
I really want to emphasize the pollution versus purity.
With my sorcerer, I'm incorporating the Industrial Revolution into his character by making him smokey and soot-covered and putting smoke stacks into his head and chest.
I want the swan to be purity.
You know what I mean? So there's that contrast between them.
I'm making the swan feel like it's pulling out of her, so I come up with this idea of putting the swan on the arm and a wing in the head, and a swan profile coming out of her chest.
And then on the face, I want to keep it-- - Soft? - Soft but beautiful.
Okay, do I look like I go to the ballet a lot? So, I sit down with my team.
We start going over ideas.
I feel like I'm definitely struggling on this one.
You know I'm just not feeling it.
I don't know if it's just because it is ballet and Ming Dynasty that, you know, I'm just-- I feel lost.
I'm open to any ideas and input.
So maybe instead of it being she's enchanted, maybe he's turning her into an automaton.
Yeah.
Since I don't know where I'm gonna go with this makeup, I'm going with Frank's concept of the automaton.
So our sorcerer is really an inventor, and he creates mechanical pieces that people think are magic, and he's actually created this automaton, which is mechanical, that's turning from a human form into a swan.
So I just go ahead and let Frank and Scott start sculpting.
Frank starts working on our sorcerer and Scott starts workin' on the face appliance for our swan, and I pull some clay and start trying to work on some feather pieces.
What are you thinking about for her body? I'm not-- I'm thinking about it.
Yeah.
This is blocking-out day.
Miranda is blocking out the cowl and Eddie is blocking out the chest of the sorcerer, and I start on the chest piece for our swan.
I'm going to try to get as much blocked out in clay as I possibly can today.
That's looking really nice.
I'd still bring the beak out just a little bit.
The most important part as team leader is that I see my vision through the way I want it to be, which means that I'm going to have my hand in all the sculptures.
Um, Tate? I have Lyma working on some bird scaling textures for the hand and for the arms.
It's not going well.
Lyma's sculpting very flat, and I don't like it.
Can I say something? Check this out.
On some of 'em, add a little piece on the top to get some dimension.
- You sure you want that? - Yeah.
It's my ass on the line.
She needs to stop thinking for herself and start listening to my delegation.
They don't have to overlap, but some of 'em, just raise up above the others.
Okay.
Hey, guys! - Hey! - Hey, guys.
Here for a final walk-through.
How are you showing us that there is a morphing going into the swan? The thought was to take the wings so they're coming forward and wrapping around her body this way.
Is it going to wind up being beautiful, or is it gonna look like a bony chest from a horror movie? This isn't monster.
It's not alien.
- It's the ballet.
- All right.
The era we picked was the Industrial Revolution, so I really want to work in a lot of metal fabrication as well as gears and things of that nature, kind of steam-punky.
One thing I want to warn you on is, because it's pollution, because it's smoke, because it's dirt and grime and all like that, don't get it too dark.
I feel it's the one thing that you've been doing all season.
You've been lucky, so be careful right here because something like that could be a problem.
Yeah.
That's a good idea.
Frank had this great idea of our guy being, like, an alchemist and turning the swan into an automaton.
- Automaton.
- Automaton.
Do you have any sketches of the swan? We're still trying to figure all that out.
Now, this is one of the things that's happened in the past.
The person that was in charge didn't keep it all coordinated.
The thing about team challenges is that you want to make sure that it looks like the same person did everything, especially in the finale, which right now, that's not what I'm doing, 'cause I got one person doing one character and one person doing the other, and then I'm oblivious to what's going on.
I want to win, but if I don't figure this out, I'm really screwed.
Coming up There's so many holes in this mold.
I think my swan is ruined.
The seams on the cowl are horrible.
- There's no next week.
- Yeah.
You need to get on the same page.
The winner of Face Off is.
So, tell us about your whole concept and what you're working on.
We're still trying to figure all that out.
Today's the first day of the finale challenge.
We have to create a sorcerer and a swan that's in mid-transformation, but it's difficult to explain a concept that doesn't exist.
There's no next week - Yeah.
- and it has to work.
Really get on the same page.
We're not off to a good start Can't wait to see it.
but I've never been the type to give up.
I'll figure something out.
All right, everybody.
Good luck! - Bye! - Bye-bye.
_ Cool.
Yeah.
Love it.
End of day one, and we've got a good pace going on.
I feel like everybody is working very smoothly, and I feel like we've started out on a high note.
All right.
That's time, everybody.
Today could have been much better.
I'm not jiving with the concept for my swan.
I'm not sure where this is gonna go, but I really want to win this time.
Whoo! It's day two in the lab.
We've got ten hours today, and there's a lot to do.
- Don't have that curve in it.
- Oh, okay.
Getting home and, you know, gettin' a little bit of rest last night really cleared up a lot of things, and I'm afraid Frank's idea of doing a mechanical swan is gonna look too much like what Tate is doing, so my new concept is that our sorcerer is a Chinese alchemist, and the girl turns from human to gold to swan.
That way, we can still go with what we've got going and we're not losing any time with anything that we've already started.
This is a long lab day, and the goal is to get these two chest pieces molded, and Miranda and I are done with the detail on the chest, so Eddie gets to take those back into the molding room and start molding.
I was thinking about it last night.
These guys, we're gonna have to put on hold because we're shifting over to porcelain.
Okay.
I've decided that I didn't feel comfortable with the Industrial Revolution not being integrated into my swan.
So my new concept is that the sorcerer wants to capture the spirit of the princess inside this mechanized vessel, so she's a porcelain-skinned doll with all these underlying brass gears and stuff.
And I want to see you paint some of these.
Deciding to go with the mechanized swan eliminates the need for the skin textures that Lyma's been working on, which is unfortunate, but I'm going to give her some feathers and I'm gonna tell her what color and we'll see how that goes.
_ Time's almost up and we're pushing it on the swan's cowl.
It's crackin' everywhere.
It's just-- it's fallin' all to pieces.
Fuck.
There's just no way to salvage this thing, so we'll have to re-do this one.
Oh, damn.
I'm pretty ticked.
I feel like I've let Roy down.
I really wanted this cowl mold to come out nice.
We'll make it beautiful tomorrow.
_ Okay! Time.
That's it! I'm trying to be laid back on this one.
I don't want to be, like, a tyrant, but that cost us at least three hours, and that's a pretty good-sized hit.
Oh, yeah.
Day three, we have I'll start on this puppy and figure out what's goin' on.
We have to get the cowls into the mold room as fast as possible.
- This okay, like, how it is? - Yeah.
So Miranda is finishing up the cowl for the sorcerer.
I'm going to finish up the cowl for our swan.
We've got a lot of things to do today.
Scott's got to re-sculpt the cowl and get that mold made, and I want him to take time.
I want to make sure that it gets done right, so I tell Scott, "As long as it's ready by the end of the day, that's fine.
" Frank still has to make the mold on his cowl that's sculpted.
I'm starting making stuff for the armor and start working on the cloak.
Do you want them to be uneven like that Yeah.
or do you want me to round them? Okay.
No, I want them to look like - the brick has chipped at the top.
- Okay.
Alana and I bounce back and forth on the sorcerer's crown and shoulder pads.
I'm going to have Lyma feathering up the chest, feathering the head, and beginning the arm feathers.
You might want to start with the long feathers first and work your way backwards.
That way, they lay correctly over each other.
Here you go.
We finish up the cowls, so Eddie begins molding, and Miranda and I continue to work on the faces.
Yeah.
We got three hours.
The sorcerer's cowl has two horns that intertwine and one horn coming up the front.
This is very difficult to mold, so I create a plug that I'm gonna cut out once the piece is run in foam.
Everything seems to be going well, but I'm rushing and rushing just to make sure that everyone gets done by the end of the day.
Looking good, girl.
Looking good.
Our sorcerer has a chest piece, and Frank has sculpted out chest armor.
Then we're gonna take some L200 and cut out the swan design that he came up with and glue it directly to the chest so it looks like it's all one piece.
Take it out and hit it with the spray gun.
It'll spray that water clay right out.
So, while I'm molding the cowl for the sorcerer, Alana runs outside to clean the cowl mold for my swan.
Fuck.
And all the sudden, she comes running back in, white-faced.
There's so many fucking holes in that mold.
- It's fucked up.
- Really? And I-I can't even get the fucking L200 out.
The clock's dwindling down.
I still have a lot to do.
Let me go take a look.
I'm worried.
I don't have time to re-sculpt it, and I definitely don't have time to re-mold it.
The inside of the mold is full of holes, so when you run foam in it, all you're gonna get is the shape of the swan head but none of the details, so at this point, the overall look of the swan character could be ruined.
I can't go out like this.
It's day three, and the inside of the swan's cowl mold is full of holes, so instead of finishing my piece for the sorcerer, I'm outside stuffing clay into holes in my mold.
I'm trying to keep myself together, but I'm just really upset.
- Did you finish the cowl? - Yeah.
Because I had to waste a lot of time fixing the swan's cowl mold.
I don't think I'm gonna get my sorcerer mold done in time.
That's time, everybody! I don't get my sorcerer mold done in time for foam, which means that tomorrow, on the day of application, I'm going to have to run it in latex and polyfoam.
and this is the worst position I've ever been in.
All right, it looks like we've got everything in good shape.
It's application day for the finale.
We've got four hours in the lab, and then one hour at last looks.
Oh, that's great.
She may actually be able to dance with it.
This is definitely the most important day that I've had on Face Off.
It's make-it-or-break-it time.
The seams on the cowls are horrible.
- Wow.
- Yeah.
It's on the other side too.
There's foam where there should not be foam.
But the good news is we still have the same form that we started out with.
It's just gonna set us back maybe an hour.
We're gonna get you guys into wardrobe.
- They're gonna take care of you.
- Tate.
I have a few things to do outside.
Which wardrobe do you like the best for him? Ooh.
This is the day that defines all of my work, and yesterday was a setback because I didn't get my sorcerer mold done in time.
So, while I'm finishing that, I've got Lyma beginning the arm feathers and Alana on pre-application on the sorcerer's face.
There's $100,000 on the line.
Isn't that fucking insane? That's pretty cool, Roy.
Oh, yeah.
That looks so good.
everybody! Yeah, it fits great.
Okay, can you get some sort of-- Oh, perfect.
The seams on the cowls were very rough, but once we get past that, we are really good on time, and there's a wonderful thing that we add to the swan's wardrobe, and that's the giant pearl choker.
There's six edges now that I don't have to cover up because I'm covering them with wardrobe.
Strategically, that's probably the smartest thing I do all season.
That looks great, Laura.
It's coming together.
Black, red, yellow, orange! Do you need to go jump on that? Application's taking a lot longer than what I thought.
All right, I got to start layin' feathers now.
If not, we're not gonna get 'em laid.
I'm gonna start putting the feathers up the back and on the cowl.
Yeah, as you move, they'll ripple.
The time's just slippin' away.
That's one hour, everybody! One hour! We're gettin' there.
We're gettin' there.
Okay.
We're good back here.
Everything's starting to come together.
The appliances look nice.
Lyma's doing the body paint.
It looks good.
I'm starting to see a little light at the end of the tunnel here.
- How long do we have? - Seven minutes.
Um-- oh! Teeth.
- I am busy.
- You got feathered hair.
Literally feathered hair.
I'm here.
- Time! That's it! - All right, guys.
- Let's get out of here, man.
- Whoo.
Got a lot done.
Still have a lot to go.
We're not in a great spot.
There are details that could make or break my characters.
This is reminding me a lot of season three.
I was at the finish line, and I tripped, and gosh, I don't want that to happen again.
We're at the theater where the performance is gonna be at, and this is it.
This is for all the marbles.
Honestly, I'm as nervous as I was the very first challenge that we had on Face Off.
This last hour is tremendously important.
I have to apply and completely paint the crown and the shoulder pads that I just made this morning out of latex and polyfoam.
So, lots of pressure.
I just hope that it fits my model correctly.
Frank is gonna handle the application on the sorcerer, 'cause it's gonna take me and Scott both to apply all the feathers and to get everything painted on the swan.
Yeah, let's see what we got goin' here.
There is so much work to do.
Eddie and Miranda are double-teaming the sorcerer, and I'm working on the swan.
I need to give her lipstick, eyeliner, all these details that, hopefully, the judges will appreciate.
That's time, guys! Drop the brushes! We're done! Roy, it's time.
Time's up, and I feel really good about these makeups.
They both look incredible.
I think that we have met every part of this challenge as a team.
- Thank you.
- They look so fucking good.
Finally, it's over.
It's just a wash of relief.
We made exactly what I wanted.
Doing this in two days - Let's see him.
- is insane.
That looks so good.
My biggest concern is the latex and polyfoam crown flying off.
If it was foam latex, it would have been custom fit to him, so I'm not out of heart-attack-land yet.
Coming up I'm nervous.
I can't stop shaking.
This is the finale.
You achieved an iconic look.
She may be the strongest one on stage tonight.
The two of 'em together, the dance was exquisite.
Ladies and gentlemen, please welcome McKenzie Westmore.
Welcome to the Face Off season finale.
Tonight, we are celebrating one of the dance world's highest art forms with a spectacular performance of Swan Lake.
Now, for their final spotlight challenge, we asked each of our finalists to create two original makeups.
A beautiful maiden as she is transforming into a swan, and the evil sorcerer who cast the spell on her.
We also asked the artists to incorporate a unique era into their designs.
Now, with that, I would like to introduce our panel of judges.
First off, we have owner of Optic Nerve Makeup Effects Studio Glenn Hetrick.
Three-time Oscar winning makeup artist Ve Neill.
Creature and concept designer Neville Page.
All right, everybody.
It is time to get started.
Our first pair of makeups is from Roy, and he chose the Ming Dynasty.
Let's take a look.
I feel really good about these makeups.
It fits ballet, but it also fits the Ming Dynasty, so I think that we have met every part of this challenge as a team.
The female character is beautiful yet striking, and the sorcerer's got a lot of fine details.
I'm feeling very proud for myself, but also my team.
Wow.
We pulled it off.
I spent three days thinking I was about to put a dead goose on stage, and instead, I end up with really remarkable-looking swan.
I'm actually very proud of both makeups.
All right, everybody.
Well, that was just the beginning, because now it's time to put them all to the test in a unique performance from the Los Angeles Ballet.
Yes.
I present to you, Swan Lake.
Wow! That was amazing! I want to give a huge thank you to the Los Angeles Ballet for creating such a beautiful piece.
And to our studio audience, thank you for being with us tonight, now it's time for the judges to take a closer look at the makeups and deliberate in private.
So, good night everybody, and thank you again for being here.
Thank you, guys! Judges, why don't you come take a closer look at tonight's characters.
From far away, the makeups look like they held up, but during the performance, anything could have happened, so I'm nervous.
This is the finale.
I can't stop shaking.
We want to know what you think of tonight's transformations.
Tell us on Twitter using #FaceOff.
I like the way it comes like feathers.
And the gold here, I like that.
- Can you turn around, please? - The wing thing's pretty cool.
I like the hair in feathers.
It's a really cool shape.
You can come back around, honey.
That's a very cool art piece.
And I do love the palette.
I want you to try to emote through the makeup.
It moves all right.
It looks like gilded ceilings with ivory molding.
It's theatrical enough that it's working from a distance.
Whoa.
That's a lot of work on him.
- Can you tilt your head down? - Wow.
I mean, it creates such a unique character.
Thank you.
Look at all the little gears and stuff.
This is really beautifully handled.
Can you turn to the side for us? Look at that.
It's quite amazing.
Really does a subtle Industrial.
This is really interesting.
Wow.
It's a great beard.
Can you turn to the side for us? - That's a great profile.
- Yeah.
- Thank you.
- Thanks.
So, judges.
How did they do tonight? I think it was absolutely fantastic.
I feel very confident that we have the right people here tonight.
I'm just really happy with the way the makeups turned out.
Good work, guys.
I think it's some of the most beautiful work that I've seen to date.
Well, the judges would like to speak with each of you to learn more about your work.
Roy, you're up first.
Roy, tell us about your concept.
I chose the Ming Dynasty.
What I decided to do is make my sorcerer also an alchemist, and so whenever he takes and casts a spell she actually turns to gold before she turns into feathers.
I think it's absolutely gorgeous, particularly your sorcerer.
Shrouding him with all the swan forms is quite brilliant, and it makes this really cool profile and silhouette for your sorcerer and gives it a very Asian flare.
With your swan, you could have handled that feather transition into her skin a little bit better, but they certainly look like they go together and they looked absolutely gorgeous dancing together.
Thank you.
I noticed that you did a little treatment on her nose.
Now, what was that meant to be? That's meant to start progressing into the bill, because that-- I didn't want to take and add to the nose, you know, so much, 'cause I didn't want it to look comical.
I think that was very successful.
I like the way you integrated the black eye makeup above the cheekbone.
That's really a neat transition.
I think you did a great job.
Thank you, thank you.
The female character, a little odd for me in places, but the overall design of your characters is so profoundly strong that you achieved your own iconic look, and that's one of the greatest things you can ask for in character design.
Thank you.
Roy, please step back.
Laura.
Please tell us how you brought all of this to life for us.
I wanted to make a conjurer sorcerer who could morph other people.
So, we gave her a crown and gold leaf to bring home the Renaissance, and we tried to have her mimic a Roman statue.
I think that you did a really marvelous job.
I absolutely love how her bodice looks like it's morphing into something, and then the shoulder piece is like the start of wings.
I would have liked to have seen a little bit more feather action on her head, I think, because it's getting a little helmet-y, but the two of them together, the dance was absolutely exquisite.
Thank you.
You've got some great texturing happening.
There's a real beautiful, classic silhouette that she has.
With regard to his head, there's a massing that's occurring that is changing the beauty of the person underneath, but there's such wonderful detailing, I look beyond that.
Fantastic work.
Thank you.
The savage grace with which you approach the swan is so unique.
A little bit more fantasy would have been too much, so I think you hit a perfect balance with the Renaissance art concept.
Thank you.
Laura, if you'd please step back.
Tate, please step forward.
Okay.
So, tell us about your time period and how that influenced your concept.
We had the Industrial Revolution.
Our sorcerer built this gear-driven vessel and cast a spell to conjure her soul into it, and she started transforming into this metallic swan.
There's some really bold choices that create exceptionally strong characters.
You have a very unique silhouette on both of them, but particularly your swan, and even with your sorcerer feeling a bit dry in terms of paint, it feels appropriate because he's all dusty and void of life, hence the cataract eyes.
- I'm really pleased to see this.
- Thank you.
I think that your swan is quite beautiful.
This is the epitome of asymmetry working properly.
She may be the strongest swan that we have onstage tonight.
With the sorcerer, I think that it was headed in the right direction, but I think the towers, to me, seem a bit medieval.
I think that it needed to speak more directly to the architecture of the Industrial Revolution.
She is stunning.
Could you put your arm out again for me? Look at that.
It's, like, the long neck, and then these wings sweeping back.
I-- She-- I think she's absolutely stunning.
- Thank you very much.
- Tate, please step back.
Okay.
Thank you all.
Appreciate it.
Thank you, guys.
All right, guys.
The judges have heard what you have to say.
If you'd please head backstage while they decide who will become this season's champion.
All right, let's talk about our finalists' makeups.
Why don't we start with Roy? Remember, he had Ming Dynasty.
Roy's ability to not only give it an incredible silhouette and profile, but to integrate all of the swans throughout it.
I think that was quite beautiful and well thought out.
His overall palette on both really worked and was quite harmonious.
I liked how they handled the covering the breasts with the sculpted feather action.
I think they probably could have used a few more feathers within that area, but all in all, I think that it created a really pretty profile for her.
That is a good point, because even though the face did not feel very pretty, treating her with an open breastbone and stomach was actually very sexy and very provocative.
All right, let's move on to Laura.
She had the Italian Renaissance.
They're both so stunning and so well done.
Her swan is exquisite.
Her treatment with the feathers and working all that in together, and the beautiful breast plate is just amazing.
And her sorcerer was unbelievably gorgeous.
There was so much work in that.
I'm-- I was very impressed.
The facial detailing was pretty incredible.
- It's quite beautiful.
- I'll tell you what.
When you saw the two of them dancing together, that was the highlight of the performance for me.
Mm-hmm.
And they were of the same world in the context of a cohesive set of characters.
Yes, ultimately, they look like great makeups on ballet performers, which is what - Oh, yeah.
- in essence, our challenge was.
All right, let's move on to Tate.
He had the Industrial Revolution.
- I loved Tate's swan.
- Oh.
I thought it was really ingenious how he pulled it all off to the side.
I mean, what a great idea.
The storytelling was great.
The reveal on the arm - Yes.
- on the knee.
All those little details.
Those are some really good ideas.
So much of it's concentrated on the swan Yeah.
and not enough of it on the sorcerer.
Just a little peek-a-boo of a gear.
- Yes.
- And I was like, "Oh! That--" If you just took that and magnified it throughout.
The sorcerer I struggle with.
He looks like a derelict.
Like a transient or something, instead of a powerful sorcerer.
That's in the facial sculpt.
It didn't read like what it was supposed to.
Even though we struggled with the sorcerer, that silhouette, the fact that he broke it up so intentionally asymmetric gave them one of the most unique silhouettes.
And that is so important in performance art.
- Yes.
- Yeah.
This is so difficult, because we've got three amazing artists, each of them representing their particular skill set so well, and I'd have to say this is the tightest race that we've had on the show to date.
All right, judges, have you made your decision? - Yes.
- Yes, we have.
Let's bring them back out.
One of you will become the winner of Face Off.
So, Glenn, why don't you tell us about tonight's makeups? Roy, your color palette was a perfect fit for the Ming Dynasty, and your characters really felt like they were from the same world.
Laura, we loved the unexpected ideas in your design, and we felt that they complimented the Italian Renaissance incredibly well.
Tate, your swan character had a truly fantastic silhouette, and the use of gears was a great way to communicate the Industrial Revolution.
Glenn, who is the winner of Face Off? The winner of Face Off is Glenn, who is the winner of Face Off? The winner of Face Off is Laura.
Yeah! Look at that! You did it.
Congratulations, sweetheart.
- Laura, congratulations! - Thank you so much.
You are the winner of Face Off! I win! I win, finally! I can't believe it.
That was pretty awesome.
Here are the keys to your new Fiat.
Wow.
Congratulations, and nice work, gentlemen, as well.
Thank you.
I feel really proud of every makeup I've created.
I feel really proud of the obstacles I've overcome.
Congratulations.
This was, again, a fantastic experience that will probably go down as one of the best I've ever been through.
I came here to make it this far.
That's where I wanted to be in season three, so given this second chance to do it again and actually get there is icing on the cake.
Sometimes you have to eat your cake without icing, but it's still cake.
My family and friends deserve this win as much as I do for supporting me on this crazy career choice that I've chosen.
That's all I ever wanted in life anyway, was just to be an artist, but I'm so lucky that I get to use my craft and create creatures every day and have fun.