Face Off (2011) s07e02 Episode Script

This is an impressive first showing.
This is not a makeup that works.
You're all my children now.
Previously on Face Off in Los Angeles for a life-and-death final audition.
- None of you are on the show yet.
- Oh, dear.
Dina's wood nymph brought her the win Thank you so much.
But Scott and Gabby did not make the cut.
Face Off! And tonight, they will take on their first spotlight challenge.
Each of these items represents an actual gangster.
And though many will struggle We're in trouble.
one will snuff out the competition.
Absolutely stellar makeup.
It was a poor idea.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2014 Fiat 500, and $100,000.
Welcome to Face Off.
- Wow.
- Oh, wow.
- This is crazy.
- We arrive at the house.
And it's gorgeous.
- Whoa, no way! - Yeah! I can't believe we're staying here.
The house is amazing.
- Ping-pong table! - Wow.
I see photos of makeup from previous cast members representing life and death.
There's this koi pond and a pool outside.
We are gonna have an awesome time.
Face Off! Whoo-hoo! Today we get to Universal Studios.
Oh, look.
A sweet dodge.
We're looking at all of the buildings and all the sets, and it's unbelievable.
I see McKenzie down there, and she's standing next to peanuts and bananas, and there's a big tuna.
This doesn't really make any sense.
- Hey, guys.
- Hi.
Welcome to New York Street, here in the heart of Universal Studios Hollywood, home to one of the most historic back lots in the film industry.
Countless Oscar-winning films were shot here, including The Sting and Dick Tracy, which are both widely regarded as classic gangster films.
From Scarface to Sammy The Bull, old-school gangsters often took on colorful nicknames that represented their appearances or dirty deeds.
Films like Dick Tracy and Sin City took these nicknames and used them to inspire their over-the-top makeups.
So in this spotlight challenge, you will create your very own over-the-top crime boss inspired by the nickname of a real-life gangster.
- Awesome.
- I'm really thrilled that we have this challenge, because I'm a huge fan of Dick Tracy.
Those characters are so far out there.
Each of these items represents the nickname of an actual dead gangster.
Working in teams of two, you'll choose one of these items and use it to inspire your character.
All right, guys, your randomly assigned teams are Gwen and Drew, Rachael and Vince, Doc and Stella, Barry and Sasha, George and Cig, - Dina and Jason - Awesome.
Keaghlan and Damien.
Go ahead and stand with your new teammate.
Gwen and Drew, you have first pick.
- Go ahead.
- Shark.
All right, in honor of Sharknado 2, which airs tomorrow night on SyFy, you chose Michele "The Shark" Sindona.
Rachael and Vince.
Typewriter.
You have Charles "The Typewriter" Nicoletti.
- Doc and Stella.
- Needles.
Leonard "Needles" Gianola.
- Barry and Sasha.
- Clock.
Allie "Tick Tock" Tannenbaum.
- George and Cig.
- The tuna.
- Tony "Big Tuna" Accardo.
- Yes.
- Dina and Jason.
- Peanuts.
John "Peanuts" Tronolone.
Keaghlan and Damien.
All right, we're gonna go with the truck.
You have Opal "Mack Truck" Long.
Now I have a special surprise for you.
I've brought someone who knows gangster movie makeup better than anyone else.
He won an Academy Award for his innovative makeups in Dick Tracy, and he also won two Emmys for his visual effects work on Battlestar Galactica.
- No way.
- Please give a warm welcome to the incredible Doug Drexler.
- Whoo! - Yeah! Whoo! I'm a huge fan of his.
I watched Dick Tracy so many times as a kid that the tape wore out.
Oh, boy.
Wow, wow.
Doug will be joining us on the reveal stage - to give his final thoughts.
- Oh, I can't wait.
Oh, boy.
What advice can you give these guys? The important thing to remember is if it's too on the nose, it probably isn't interesting enough.
It has to be a turn of the screw into fantasy.
But you don't want to take your makeup so far where people can't relate to it.
That's fantastic advice.
Thank you so much for being here today.
My pleasure.
All right, guys, I want you to get started on your designs.
When you're finished, go check out that lab.
Yeah.
My dad and I will be by later on to check in on your progress.
Good luck.
Definitely some big, like, bruiser knuckles and stuff.
George and I got Tony "Big Tuna" Accardo.
He should have a cigar stuck in his fat wrinkle.
That would be cool.
We don't want to make a straight fish guy, so we give him fishlike features.
And his bio says that he was notorious for using a baseball bat.
So we think it'd be really funny if we switch out the baseball bat and he just kills people with a giant tuna.
He's sleeping with the fishes, see? We got to play up on that.
He ratted people out when he got caught.
Sasha and I have the clock.
And our gangster is Allie "Tick Tock" Tannenbaum.
He was a stool pigeon.
He was a rat.
So I want to incorporate that idea into it.
I really don't like rat makeup.
So are we good with this direction? Like a rat face? No, because I kind of love mine.
I have this idea to make this awesome grandfather clock.
We have to represent a gangster.
Like, where's the gangster element? That's the evil face.
And the mustache is the hands on the clock.
I don't think Sasha's concept is very gangster, so it's not gonna work.
Stella and I have Leonard "Needles" Gianola.
Needles.
Kind of like when a porcu-- How a porcupine spikes.
We're thinking let's do something with the hair.
Also, he is an assassin, so let's have some sort of slit in the fingers, and these needles would come out as his weapon.
For the hat, we can get a fedora.
And then if we get a feather, it'll represent a fin, you know? Gwen and I decide to take the shark's jaw.
I have this really cool idea for this shark guy.
He should have really sharp features.
And since our object was the teeth, I decide that we should make these really awesome shark jaw dental appliances so that he'll actually have, like, the mouth of a shark.
This guy's like a monster.
Hey, everyone, let's go check out the lab.
We're leaving to head to the lab, and we decide to do Barry's concept of the rat.
This isn't the direction I would have gone, but I just want to work well with a partner.
Barry seems to really know what he's talking about, so I'm going to trust him.
To the lab! Oh, man.
Oh, dude, we're here.
- Oh, radical.
- This is it.
This is it.
- Yeah! - Awesome.
We get to the lab for the first time, and it has everything I could possibly ever want to use.
Wow.
The first thing that stands out are the rainbow colors of Kryolan.
I'm really stoked to use those.
So we pick our models, and it's time to get started.
So it's day one in the lab.
We have six hours.
And Gwen and I know that we need to get the face done and molded.
First thing I sculpt is the shape of the gums onto the life cast.
I'm doing the cowl.
I want this guy to be top-heavy, like a shark who doesn't really have shoulders.
Lettering is kind of important, because it has to be sort of like it's from a machine, it's typewritten.
Charles "The Typewriter" Nicoletti is our real-life gangster.
Our concept is this big, brute boxer with these typewriter brass knuckles and the names of his victims carved in his head.
Glenn, Neville, - um, Ve, and Lois, right? - Yeah, I like it.
Yeah.
Our makeup will require a lot of skin detail.
It's gonna be really time-consuming, so I'm hoping that we can pull it off.
Movie magic.
I start blocking out the cowl while George starts blocking out the face.
What do you think of this so far? Yeah.
We really want to make a badass makeup.
I can't wait to have Doug Drexler look at it.
And I hope he doesn't tear it apart.
If we have the head tilt, which way do you think it should tilt? This way? Our gangster's name is John "Peanuts" Tronolone.
And he was very greed-oriented, so we want to bring that into our makeup.
So Jason and I are going to make the top of the head more fantasy by giving it a peanut texture.
We're gonna keep the peanut shell open on top and throw a bunch of jewels and money up there to show that he's a flashy, sleazy kind of dude.
Well, I was gonna go for, like, the venting, like, on the side of that car.
Our real-life gangster is Opal "Mack Truck" Long, who was built like a mack truck.
So Keaghlan and I decide to create a half gangster/half truck hybrid.
We want to do four headlight appliances on a hat, a hood emblem on the collarbone, as well as a face appliance.
How can you have a gangster challenge without a dirty rat? Concept is a dude with really big ears, reminiscent of rat, but still have a human anatomy going on.
Sasha's working on the face, and I'm on the cowl.
Making the face pristine takes away from it, you know? I think we can come together and make this work.
- Hey, guys.
- Hi.
Oh, my God.
Michael Westmore is here.
How are you? We get our first one-on-one with Michael Westmore.
He's worked on countless films, and I'm uber-worried about what he's got to say.
So our guy was an assassin.
And the way he assassinates people is he will take the quills from his head.
And then tomorrow we're going to fabricate, like, an actual poison dart system.
If you actually incorporated maybe these into just little finger cups, that way it's just, hello, bam.
Okay.
This is the peanut inside? Yeah, yeah.
Your paint job is gonna be extremely important, because you have to try to sell the idea this is a peanut, not a broken egg.
- Yeah.
- Right.
Tell us about what you're doing conceptually.
Yeah.
How are you working the clock into your sculpture? Well, we're actually doing a ratlike character.
Um, another element of the real person was that he was a rat.
You've been given a challenge - Yup.
- and it isn't here.
How does this really represent the clock? I don't know how to answer that.
We are in trouble.
Now I'm actually a little bit worried.
Coming up I totally screwed the pooch on that.
Shit.
We're screwed.
I really like your character.
You've got some serious issues.
How does this really represent the clock? It's day one of our gangster challenge, and Mr.
Westmore isn't fond of our idea.
You've been given a challenge, and it isn't here.
We don't see how the clock really ties in with your makeup.
I don't know how to answer that.
Okay.
If you put a time bomb on him or something Something to incorporate that idea.
But you need to sell the idea of the clock.
- Okay.
- Okay.
For sure.
- We'll make sure we do that.
- All right.
- Thanks so much.
- Thank you.
Now we're trying to figure out how to work in a clock.
He's a ticking time bomb.
We can make dynamite sticks.
I can do fabrication to get, you know, get it attached to him.
I really want to do Barry's vision, so whatever he's saying, I'm just gonna really try to work with it.
- We'll see what happens.
- Okay.
We picked typewriter, and there's gonna be words branded into his head.
He's also got brass knuckles with letters on them.
You're gonna have to make your letters or your exclamation points and things like that very legible.
- Yeah.
- Yeah.
- Good-bye, everybody.
- Bye.
- Good luck, guys.
- Thank you.
I don't think I have enough time to mold this.
No, you know what? I'm gonna do it right now.
Do it.
Run, run, run.
You make a mold by layering a plaster-like substance over your sculpture.
Once the mold hardens, you clean it out and you pour in foam or silicone, which will eventually become your prosthetic.
There'll be some lettering here.
I was hoping to get the face molded today.
But we're running out of time, so we're going to mold it tomorrow.
I decide to make a stencil for the names so that the writing looks like it's from a typewriter.
We'll go in and make incisions where this letter should be.
But it's extremely time-consuming.
I can't believe you're cutting all this shit out.
You and me both.
All right, guys.
All right, start scraping.
Ten minutes, guys.
- Fuck.
- These are cool.
All right, everybody.
That's time.
It's the end of the day, and I'm feeling a little frustrated.
I'm disappointed that we didn't get to do any of the moldings, and I'm feeling a little nervous.
We have a lot to do tomorrow so that we don't fall behind.
- Yes.
- Yay, yay, yay, yay.
Whoo! It's day two of the gangster challenge, and we have 9 1/2 hours in the lab.
That's cool.
I didn't get to see the whole back half yesterday.
What we have to do today is finish the headpiece and figure out some way to incorporate poison and get his actual weapon incorporated into the makeup.
- All of this? - Yup.
Mr.
Westmore said he would like to see the needles come out of the character's fingers, and that's when I decided to life-cast my fingers We're doing these two, right? - Yup.
- So we could sculpt on those and create some type of finger cup for needles to wear.
Let me know if there's anything I can do with one hand.
Symmetry, that isn't too important.
- We can adjust it.
- It looks fantastic.
Our big task today is getting the chest sculpture completed.
As Keaghlan finishes up the smaller pieces, I start sculpting out some more headlight details.
Once I'm done molding all of our smaller designs, we can both start tackling this big chest mold that we have to get done.
That looks good.
I like that.
This is perfectly jolly.
The foam piece fits perfectly on the cowl, so we just start molding that right away.
So while George is doing that, I foam-fabricate the fat suit.
It's really important to keep the proportions correct, so it'll look like a realistic big, fat tuna man.
On the neck, a very visible spot.
You know, maybe this side.
So this morning there's a lot of details to work out, and we don't have a lot of time.
Stella, there are two Ls in your name, right? Yeah, baby.
Rachael and I thought, wouldn't it be cool if the victims' names were also some of the cast members' names? I'm carving the names into the cowl, and Vince is doing the same for the face piece.
We need to get this done as quickly as possible, because we have to start molding.
We should texture this, just take the sponge and chip brush to it.
Dina and I have to finish sculpting the cowl and the belly as fast as possible, so we can get the molds ready for foam.
We have a lot to get done today.
I am so happy.
We see that the face lines up with he cowl.
So I don't have to fix anything.
It's good to have that weight off of our shoulders.
It slopes down.
We're not gonna have any problems with that.
- I was so worried about that.
- Yeah.
We've refined the concept a little bit by adding a time bomb with a clock.
So I'm really excited to do my clock and not a rat.
I make a whole bunch of sticks of dynamite, and I'm gonna attach a whole bunch of complicated-looking electrical cords.
I'm feeling a little better about this situation.
We've finally got a cohesive thing going.
Better late than never.
Fat suit's ready to test out.
Oh, shit.
I go to check out Cig's fat suit, and it looks awesome.
Oh, yeah.
Who's gonna be sleeping with the fishes? It's a lot of fun, and I'm just excited to show the judges.
- Beautiful.
- Nice.
No.
Jason and I are trying to get our mold apart, and it's stuck in there.
_ I'm on top of the table holding the mold, and Dina's trying to pull that core out.
Oh, shit.
_ The bottom of the mold cracks.
If it completely breaks, then we're screwed.
Oh, shit.
It's broken here.
It's day two of our gangster challenge, and Jason and I are trying to get our mold apart.
But it's cracking.
If it completely breaks, we're screwed.
- It's coming.
- It's coming? Yes! Thank God.
We're gonna have a pretty bad seam, but hopefully with all the textures going on in the peanuts, it won't be that noticeable.
Ow.
I need to make the shark teeth.
I use a thermo-sensitive plastic.
It comes in little pallets, and you put it in hot water, and it melts and becomes pliable.
And then you can shape it into whatever you want.
I want to fabricate a working cigar.
So I have the idea to put a LED light in the end of it.
I want to make it smoke too, so I'm gonna take what's called a bulb syringe and load it up with baby powder.
The model can give it a little puff, and it'll just whoo.
- Oh.
- Looks good to me.
Vince and I took too much time sculpting, so we're behind schedule.
It's really important to get these pieces finished today, because we don't want to have to run our cowl in poly foam.
- Damien, do you have time? - Yeah, a little bit.
Thanks.
All righty.
We have a lot of clay stuck in our cowl mold.
And we have to be really careful when removing it, because there's so much detail.
If anybody's not doing nothing, Vince and Rachael need help cleaning their mold out.
We're getting down to the wire.
- How long do we have? - About 20 minutes.
The mold is just grabbing this clay and not letting go.
The clock is ticking, and we're taking the clay out as fast as we can.
We need paper towels! Everyone's helping get these things clean, and I am so grateful.
All right, good.
That's time, everybody.
- Blood, sweat and tears.
- Yeah.
All right, high five.
We get our molds done.
I'm concerned, because Rachael and I still have a lot to do.
So tomorrow is gonna be tough.
So it's application day, and we have four hours in the lab and one hour at last looks.
The first thing I do is start seaming that chest appliance.
And Keaghlan starts finishing up other little things, like the hat.
Oh.
Our cowl is a mess.
There are steam packets everywhere Fuck.
And the seam is pretty bad.
So we need to trim that up and patch it, get it nice and smooth, so it won't be so obvious.
- I'm Doc.
- What up, Doc? Going down? Nice.
_ - Oh, sick.
- Yeah.
Our plan for application day is to tag-team everything.
So Sasha puts a bald cap on him, and I start seaming the cowl.
There's a little bit of damage around the seam, but once I glue it back down, it's not gonna be too much of an issue.
The first thing that we do is Stella applies the face.
In the meantime, I paint the headpiece.
Let's talk about this hair one more time.
You want to just do brown washes over it? Yes.
Brown washes.
I do a white stipple.
And you'll really see that come through once you start layering other colors on it.
While Vince is starting the paint job, I need to make these brass knuckles.
So I take L200, which is a soft fabricating foam, and start cutting out shapes, trying to imagine what it would look like if I were making real ones.
I'm not super happy with the brass knuckles.
I wish I had a couple more hours to spend on them, because they're such an important part of our concept, but they will have to do.
One hour, guys.
The beast is heavy.
Stella and I realize, with the headpiece, the edges on it are pretty rough.
I think we should cut this to a sharp line.
The edges are so thick, it's gonna look like big blobs of goo on his head.
So I decide to cut it, make it a hard edge.
It looks lumpy, but we're gonna just use it and whatever happens, happens.
I totally screwed the pooch on that.
Gwen and I have to get his teeth in.
How's that feel? He doesn't have as much mobility with his mouth as I was hoping, but they look badass, so that's all we care about.
While Dina's throwing down some flesh tones, I go ahead and start hot-gluing all the jewels and poker chips inside the peanut head.
We tried as best we could to clean up all the seams, but it's still bugging me.
I'm not sure where we stand.
I think it all depends on how last looks come together.
I'm keeping the hair super sparse over here, because hair doesn't really grow on skin this damaged.
Barry started the detail work with the paint, while I lay the hair.
This is not my best work, but I'm just rushing, because it's better to have the whole head covered in hair than only half of the head.
He can look ratty.
He's a rat, right? - Yup.
- Guys, that's 15 minutes.
That's gonna have headlights on it.
This edge on the hair looks really stupid.
And, quite frankly, I'm worried.
I think we should bring a little shading in here.
I need this paint job to sell this piece.
That's time, guys! I don't know that we're gonna pull it together in last looks.
Coming up We're painting like crazy, but I don't think we're making it look better.
I'm really concerned about how dark our paint job is.
I'm not fond of this makeup.
This is a great idea.
It cuts a striking figure.
All right, we have the latex out.
- That should be, like-- - It should be in the bin.
We have an hour in last looks.
We have got all the quills in.
Everything's ready to go.
The only thing left to do is add the wefts on top of the hairpiece and glue on the quills to the fingers.
Take care of the mouth, I'll take care of the hands.
Right away I start airbrushing in all those final little details.
And I'm really happy with how it's looking.
Jason and I are just trying to get everything done.
So we're painting like crazy, but I don't think we're making it look better.
The rat face is a grayish skin tone, and now I'm concerned how dark that paint job is.
All I can do is lighten it up, but I don't think it's gonna look the way I had it in my head.
Ten minutes, guys.
Gums in.
That's time, everyone! I'm not happy with this makeup.
There's a great concept inside there.
But Sasha and I just didn't put it together.
All I can do is just hope for the best.
Welcome to the Face Off reveal stage.
Tonight, one of you will be eliminated.
First, let's say hello to our talented judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
Good evening.
- Hey.
- Hey, Glenn.
Oscar-winning makeup artist Lois Burwell.
Good evening to you.
- Hey, Lois.
- Hi, Lois.
And creature and concept designer, Neville Page.
How are you doing, gangsters? We are thrilled to welcome back Oscar-winning makeup artist and 17-year Star Trek veteran, Doug Drexler.
It's great to be here.
And I can't wait to see what you guys have come up with.
Okay, before we get started, I need to let you know that in keeping with this season's theme of life and death, the judges will again have a one-time special immunity.
They can use it at any time to give you a second life when you would have otherwise been eliminated.
That's really cool, because even a great artist could just have a really bad week.
All right, this week's spotlight challenge was to create an over-the-top crime boss inspired by the colorful nickname of a real-world gangster.
Let's take a look at your creations.
Gwen and I are both really, really pleased with the way that this makeup has come out.
And we think he looks badass.
I'm very disappointed.
He looks muddy, but my bomb looks really cool.
It is a little bit flat.
I'm a little bit nervous about the paint job reading from afar.
I'm really happy with our character.
You don't get more truck-like than having exhaust pipes coming out of your face.
I'm pretty embarrassed.
This isn't the character that I wanted to see onstage, but hopefully it's good enough.
I was a little nervous.
But I think from far away he looks kind of cool.
I am psyched.
He has a perfect profile.
Yes! It looks great.
All right, judges, it's time to take a closer look at our gangsters.
The blend's pretty nice from the headpiece into the cowl.
Can you open and close again? - That's really good.
- Yeah.
It really is.
The paint is on the muddy side.
It sure is.
It's all just one color.
Needs something to punch it up.
- Somehow, it got lost.
- What about the prop? I see that I must have been hit, and I think Neville's been hit.
_ You know what's cool about it? It looks like they're supposed - to be keys on the typewriter.
- Yes.
Thank you.
If you were watching Boardwalk Empire and Nucky went to see the wiz, this is what it would look like in that world.
_ I do like the painting.
Yes.
Thank you.
Wow.
What did they sculpt it with, a hammer? I'm very worried now.
The judges are noticing the bad seams, and that's going to put us on the bottom.
Who made your favorite over-the-top crime boss? Tell us on Twitter using #FaceOff.
Wow.
What did they sculpt it with, a hammer? The seam is pretty bad, so I will be potentially going home.
I really like the face, but this is so literal.
It looks like a swimming hat.
Although nice job on making the quills.
- They look like quills.
- Yeah.
The placement of the weight around the torso, this is really well done.
There's just an overall nice continuity in everything.
That's hilarious.
Okay, the judges have scored your creations, so let's find out what they thought.
Gwen, Drew, Keaghlan, Damien, congratulations, because you guys are safe this week.
You can head back to the makeup room.
All right, the rest of you were the best and the worst this week.
The judges would like to speak with each of you to learn more about your work.
Doc and Stella, please step forward.
Explain the idea behind your makeup.
We got Leonard "Needles" Gianola, so we incorporated quills into the hair.
Also, he was an assassin, so we incorporated poison to the fingers.
Doc sculpted the face, and I worked on the headpiece.
I also made all the poison vials.
The techniques in the face are very well thought out and successful.
But I feel like just because the word "needles" is in his name spiking his head like that is too literal with that one aspect of the challenge.
I think the face is very promising, and the hand is intriguing.
But the hair looks like a hat.
Overall, I really like the character.
- It's a cool makeup.
- Thank you.
Thank you.
Doc and Stella, please step back.
Sasha and Barry.
Tell us the idea behind your character.
Our gangster is Allie "Tick Tock" Tannenbaum.
He was a rat who ratted out many, many gangsters.
And he's a mad bomber.
He's had a few of his bombs go off in his face, and his ear is a little bit damaged.
I'm not particularly fond of-- of this makeup.
Who did what? The concept was Barry's.
We both sculpted.
I did the hair.
Barry painted it, and I made the bomb.
There are just certain things that aren't up to snuff.
Like with the sculpt, I wasn't certain if it was a rabbit or a rat.
Just having the ear drop an inch below the other ear does not connote damage.
And it is such a muddy paint job.
My favorite part of this makeup is the clock.
Yeah, it's the prop that makes him who he is.
You want people to be able to look at a character and suss out the story.
Unfortunately, your makeup doesn't really do that.
Sasha and Barry, please step back.
Cig and George, you're up.
Tell us about the concept.
Well, we got Tony "Big Tuna" Accardo.
He was notorious for using a baseball bat, so we changed the baseball bat for a fish.
And it says "Good Night" on it, because that's the last thing you see before - you're sleeping with the fishes.
- You're sleeping with the fishes.
I blocked out the cowl, and he blocked out the face.
I foam-fabricated the fat suit, and George laid all the hair.
This is great thinking and a really good execution.
- Thank you.
- Thanks.
The gills/rolls of flesh and using the jowls as a fish mouth makes this that much more impressive to me.
The other thing that is really remarkable is the body suit.
It's all this guy.
The sense of weight that it has carries right from the top of the head, right down to the tips of the feet.
- Thank you.
- Thank you.
This is absolutely the catch of the day.
Yes! I love the hair.
He looks wonderful in profile.
You should be really, really pleased.
- Thank you.
- Thank you guys so much.
Cig and George, please step back.
Good work, big boy.
Good job.
You guys rocked it.
Thanks.
Dina and Jason.
Would you tell us about your guy here? This is John "Peanuts" Tronolone.
He ran a bunch of gambling and bookmaking operations, and he has money, poker chips, jewels, and stuff up in his peanut cap.
I sculpted the face.
Jason blocked out the cowl.
I did some detailing on that.
I feel like there's a disconnect between the cowl and the face.
And it also falls down as far as the paint goes.
The peanut part is very boldly painted, while there's very little painting on the face.
If you bring one skin tone against another, it should look like the skin tones belong together.
But the hands are just the model's own hands.
This is just a peanut on a guy's head.
It certainly doesn't have a Dick Tracy feel, and the face does not flow into that cowl at all.
Dina and Jason, if you'd please step back.
Rachael and Vince.
Let's start with concept and how each of you participated in the creation of this makeup.
So our gangster is named Charles "The Typewriter" Nicoletti.
He bludgeons his enemies with brass knuckles.
In addition, he memorializes his victims in his skin.
I blocked out the cowl while Vince sculpted the face.
Conceptually, this is a great idea.
Love what you guys did with the typewriter aspect of your character.
- Thanks.
- With a tighter paint job and a little tweak to the sculpture, this could have been an absolutely stellar makeup.
Thank you.
I probably would have punched the paint job up more.
Rings under the eyes, some beard shadowing.
The face really is begging for that.
But it cuts a striking figure, and I think that you're really successful there.
Rachael and Vince, if you'd please step back.
- Thank you, guys.
- Thanks.
All right, guys.
The judges have heard what you have to say.
If you'd please head back to the makeup room while they make their decisions.
All right, judges, so let's talk about tonight's makeups.
Why don't we start with Doc and Stella? The treatment of the face felt like it was right direction, right world.
- It's a strong character.
- It is.
I think they had a nice idea.
All right, let's move on to George and Cig.
The distribution of weight on this thing *** that the suit wouldn't collapse in the wrong areas.
What was wonderful is that the weight in the makeup and the face carried through.
And there were some lovely little details.
I mean, there's dribble hanging there perfectly.
All right, judges, let's move on to Rachael and Vince.
Rock-solid idea.
Very, really, really wise.
And the execution of the type in the head, that was all really, really good.
I love this idea.
I love taking the typewriter and just going straight into the makeup itself.
All right, judges, let's move on to Barry and Sasha.
I really dislike this one, and it doesn't satisfy the challenge.
It was a poor idea picked up and run with.
It never would have occurred to me that a bomb went off in his face.
- I didn't get that at all.
- Nor I.
I was serious when I said that the prop was the most successful part of this, because it is the only thing that, when you look at the character, says, "Tick Tock.
" All right, let's move on to Dina and Jason.
I just think there's so many other intellectual ways to have approached the peanut aspect other than sculpting a planters peanut guy on top of his head and then putting pearls and chips in it.
The problem with it is that it's too on the nose.
- It's not clever.
- And you look at the painting.
They had one solid color, with a bit of dark thrown into it.
All right, judges.
Have you made your decisions? - We have.
- Let's bring them back out.
All right, Glenn, tell us about tonight's top teams.
Actually, there's one makeup that is vastly superior to the rest.
Glenn, tell us about the top teams.
Actually, there's one makeup that is vastly superior to the rest.
George and Cig's Big Tuna.
- Thank you.
- Thank you.
Your clever ideas, world-class teamwork and great technique made for a stunningly successful makeup.
- Thank you.
- Thank you.
Cig and George, well done.
But as you know, we can only have one winner.
Glenn? Without the construction of that fat suit, the makeup would not have been as successful on the whole.
So, Cig, you are our winner.
Thank you.
_ _ It feels really good to win.
It's just so exciting.
Cig, congratulations.
You, George, Doc, Stella, Rachael and Vince, you're all safe and can head back to the makeup room.
Unfortunately, that does mean the rest of you are on the bottom this week.
And one of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom teams.
Barry and Sasha, we appreciate that you tried to be clever with your concept, but your character just didn't capture the essence of your gangster's name.
Dina and Jason, while we liked some things about the face, your uninspired concept sabotaged the makeup.
So who is going home tonight? The person going home tonight is Barry.
The character was flawed in many ways, and it seemed to us that you were the driving force behind it.
Barry, I'm so sorry, but that does mean you have been eliminated.
Dina, Jason, and Sasha, you're safe and can head back to the makeup room.
No worries.
I feel certain there is a future for you in makeup, and we wish you well.
Thank you so much.
Barry, thank you for being here with us.
If you'd please head back to the makeup room - and pack up your kit.
- Thanks, guys.
Worked so hard to get here, and just to go home so soon, it's such a bummer.
- No, man! - Aww! I don't think that this one challenge represents me as an artist.
This is definitely not the end of the line for me.
I'll never be done making creatures.
It's what I do.