All language subtitles for Face Off - 1x03 - Out of This World.HDTV.en

Previously, on "Face Off",

12 talented special effects makeup
artists came to Los Angeles,

to compete
to join the world's elite.

Everybody, drop 'em.

is challenge is all about
nude body painting.

Serge's model's still just
standing there nude. I'm, like...

Frank is just done.

He slept through the [beep] bar challenge,
he slept through the tattoo challenge.

Man: There can only be one winner.

Anthony.

McKenzie: Who is going home tonight?

Glenn: Sergio.

And tonight on "Face Off"...

I have a very special guest,
my dad Mike Westmore.

Holy crap, we're gonna do aliens.

What are you doing
and what am I doing?

Tate: That's dope.
That's so good.

It will literally be
down to the second.

You both had your heads
up your asses.

What in the hell were you thinking?

- You've done a really nice job here.
- Oh, thank you.

To make it to the top,
they'll have to impress

our award-winning panel of judges...

Ve Neill, legendary makeup artist,

whose work includes
"Edward Scissorhands",

"Beetlejuice", and the "Pirates
of the Caribbean" films;

Glenn Hetrick, cutting-edge
makeup effects artist on "Heroes",

"Legion", and
"Buffy The Vampire Slayer";

and Patrick Tatopoulus,
visionary creature designer

for "Independence Day", "Godzilla",

and director of "Underworld:
Rise of the Lycans".

Who will be the next
great name in movie magic

and earn $100,000 dollars

and a year's worth
of makeup from Alcone?

Get read for "Face Off".

What up, y'all?

Yesterday, I thought for sure

Frank would've ended up
on the chopping block.

I was unbelievably shocked
that Frank walked out safe.

- Yeah.
- No way.

Conor: Yeah.

Anthony:
If we do team challenges today,

I pray to God that
I don't get Frank.

[laughs]

What's up?

Megan: Me and Conor click very well,

and I haven't gotten, uh,
to click with somebody

like this in, I don't think, ever.

You're sculpture looked...
Or your statue looked amazing.

There was a little bit
of a tongue in cheek joke,

like, with the bird poop
and the feathers.

I thought that was awesome.

I actually thought... I was,
like, "Hey, I'm being creative."

It's fun. It's nice.
We have a lot in common.

And he's very, uh, nice.
[laughs]

I'm glad you stayed.

Thank you.

Gage: I don't know, this is crazy.

When we came up to this location,

I recognized it immediately from
"Bill & Ted's Bogus Journey".

I was, all, "Hey."
And Star Trek, of course.

Frank: I've never been up here,
so it was really exciting

to actually get to walk around a little
bit, and get to see these big rocks

and these cool formations.
It's awesome.

- Hey, guys.
- Hey.

Welcome to one of
the most iconic locations

in motion picture history...
Vasquez Rocks.

Countless Hollywood movies,
including some of the most famous

science fiction projects, like
"Star Trek", have come to life here.

I have a very special
guest with us here today.

He's most well-known
for his 18 years

with the "Star Trek" franchise.

He has won nine Emmys, an Oscar,

and he's also my dad.

Please welcome Mike Westmore.

Anthony: I was really excited
about meeting Michael Westmore.

The guy's created countless aliens.
He's a legend.

All right, guys, this is your chance

to do something
literally out of this world.

Your spotlight challenge
is based on a recent

scientific discovery
of a new planet.

You will work in teams of two,
and create an alien species

that might actually exist
on what appears to be

the first planet besides Earth
capable ofustaining life...

Gliese 581 g.

Holy crap, we're gonna do aliens.

So, Dad, you have
created more aliens

than just about anybody I know,
at least on this planet.

Can you please tell them what it
takes to make a convincing alien?

The idea is to keep it away
from being a humanoid.

We're doing an alien. That is
restructuring the bone structure.

The texture of the skin
that you finally put on it

is important, to kind of
change that a bit,

and coloring, getting away
from the beiges and the pinks.

And then there's
all the little extras

you can throw onto it,
fingernails and teeth.

The one thing
is to keep the eyes open.

This is the windows of the soul.

So get in there
and have fun with it.

You've been placed into
teams of two randomly.

Team number one is...

Frank and Anthony.

There is no justice in the world

when they partnered me with Frank.

Team two, Conor and Jo.

Jo: I couldn't be happier
to be teamed up with Conor.

I think we're gonna do
really well on this challenge.

Team three is Megan and Tom.

- We got this.
- Yeah.

Team four, Marcel and Gage.

All right.
You know.

Team five, Tate and Sam.

When you get back to the workshop,

I've also set up this
very brief video there for you

so you can learn more
about Gliese 581 g.

It's very important
that you pay attention

because you're gonna wanna
use these details

in the creation of your alien.
Good luck.

Thank you.

I don't know how to
wow Mike Westmore.

He's the guy that invented
every alien you've ever seen on camera,

so if we can accomplish this,

then I'm gonna feel like
king of the hill.

Anthony: After you, sir.

Video: Welcome, competitors,
to Gliese 581 g.

Located in the constellation
Libra 20 light years from Earth,

Gliese 581 g is
the most Earth-like planet

found outside of the solar system.

Tate: I was really excited
because I knew about Gliese 581.

I'm a weirdo with outer space.
I love that stuff.

Video: Favorable atmospheric
conditions could permit

the presence of liquid water,
a necessity of all known life.

It's aquatic.

Active plate tectonics have
disrupted the planet's surface,

resulting in significant
volcanic activity.

No seasons, no tilt.

Gliese 581 g's fixed
orientation towards it's star

leaves it permanently
light on one half,

and permanently dark on the other.

But even the light
is not a lot of light.

Which means it'll be very pale.

We hope you enjoy your stay.

As soon as we watched the video,

that was when everything
started really coming together.

Stefan looks cool.

Come with us, Rob.

So we're having a creature that's
squatting because of the gravity.

Sam and I have already just kind of

telepathically agreed on a look.

We've got creature pushed down.

- A kind of crab walk.
- Right.

It's a mammal, so they
would do live birth.

Then we could have multiple, like,

mammary available
in case they have...

Like pups, you know what I mean?

We have the womb,
which is closer to the ground...

- So this is able to form up.
- Exactly.

They could actually be spending
the majority of the time submerged.

They're an evolution
of aquatic mammal.

Tate really wants to
have him on his back.

I'm nervous about it,
but I came on to this competition

to take some risks,
and so I'm thinking I'm gonna go for it.

That's dope.
That's so good.

- So, I'm just kind of sketching out...
- I love it.

Megan: We want our creature to live

on the dark side of the planet,

and that, with
the temperature being cold,

he's going to have to dig close
to the volcano to keep warm.

So therefore, he has claws.

He's got a great shape to him.

I totally want to do a chest piece.

Tom: The face, chest, and arms

we plan on making out of foam latex.

The reason being is that
it moves real well,

we'll be able to paint it
beautifully with an airbrush,

and I'm excited
to see it come to life.

I reminds me of the movies
I grew up on, and I love it.

- I'm gonna start getting
some of our materials, okay? - Cool.

This is a couple different designs that,
you know, I'm playing with here.

This would be, like,
soft, wrinkly tissue

that emanates out from an ear hole,

and it would be, like,
really gelatinous. - Okay.

Conor: I picture going with kind
of a pseudo-amphibious look.

She's female, but kind of
decadent, aging, intelligent.

You know, kind of like a heavy
undercarriage brain thing.

This is obviously very dramatic.

Conor's been doing special effects
longer than I've been alive.

If we did nails on her,
it would only show her finger.

Well, I don't know.

I'm hoping that he gives me
a little bit more leeway,

and gives me a little
bit more respect

than I think he has for me.

Okay, so do you wanna
get started on the face

and I'll get started on the back?

Gage: Our creature,
it's aquatic and land-dwelling,

but it exists in the darker half of
the hemisphere, so it was gonna be pale,

and kind of have
a transparency to its skin.

It should have these quills
that go down the back

because if it's in the wild,
like a porcupine,

they need to be able to
have some defense mechanism.

Cool.

Frank: So I was thinking maybe,
to get away from having to do

a lot a lot of stuff,
maybe they have technology,

maybe they're
more developed than us.

We can give them some sort of clothing,
like, retro kind of style.

Frank was, like,
we're gonna do an astronaut,

jet pack, ray gun,
rubber mask, it'll be quick,

and I was just not feeling it.

I feel that any
human-esque type fabric

automatically makes it more of
a Buck Rogers or Star Treky thing.

But I kind of like, like,
old school sci-fi kind of stuff.

Anthony just isn't feeling my idea.

I don't think
the judges are gonna dig

a Halloween costume,
like, a slip-over mask.

I'm, like, you gotta be
[bleep] kidding me.

You're just, like,
stacking stuff up.

I mean, like, that's
a lot of [bleep] to build.

You got a big back piece,
all these texture things.

I'm not going home for some retro alien.
I'm not doing it.

It is day one, and we just have a ton
of stuff to do. This is a huge project.

In two days, we're doing a face,

a chest, two arms, two legs.

First thing, we have
to finish our sculptures,

because then we'll use those
sculptures to make our molds.

Okay, time starts now.

I want to at least get
the bulk of the sculpt done,

and at least maybe get
some start on the molds.

Frank and I finally
came to terms with an idea,

but we never came to
a complete sketch.

I go ahead and start sculpting.

We're going with
an aquatic type creature,

since the planet is mainly water.

I've really let Anthony kind
of take the reins on this.

My idea was an homage
to 50s sci-fi flicks,

but he shot that down.

Anthony always acts like
he's got something to prove.

I'll start on the back,
fluffing the back out. How about that?

Jo: First day,
we have four hours in the shop.

Conor and I have a lot to get done.

We are doing a full head and a face
prosthetic, both out of silicone.

You know what I was thinking about,
too, is making a side piece.

Before we get into that, we may not
have as much silicone as we want.

I'm still trying to get a bead
on what Jo's talents are.

I haven't seen her sculpt yet.

I'm still waiting to see
what she has to offer.

Sam: We're working with wet clay

because it's fast,
easy to sculpt with.

And this is a great place
to add in some asymmetry.

We've got six ground rockets.

[both laugh]

Tate: We're actually really
far on the sculpture.

Our goal is to have it done
by the end of the day.

So, rumor on the street
is that a lot of people

will be doing, like, aquatic stuff.

The concept behind
our alien is he sometimes

travels out to hunt,
hence the quills.

He needs a defense mechanism
because he's not a fast alien.

Once I get the back sculpt done,
we'll make those quills.

Anthony: Frank! Frank,
what the hell are you doing over there?

Before the day's out, there's
definitely gonna be punches flying.

[chuckles]

Frank goes out and
gets a cup of coffee.

Then he goes to get
another cup of coffee,

then he starts walking around.

- What's up, Franky?
- Just checking it out.

I'm working, I'm sweating,
I'm getting into it,

and all Frank can say is,
"No, no, no, I'm really fast."

Great, just [bleep] great.

[humming]

- You wanna come put this away with me?
- Yes.

Megan: Jo is, like,
not doing anything,

and this is just outrageous.

I think Megan's
incredibly jealous of Jo.

All she cares about is
"What's Jo doing over there?

"How come Jo's not
helping Conor? Where's Jo?

"Jo, Jo, Jo." I'm, like, what does
Jo have to do with our project?

There's much more than this
and this that meets the eye.

Getting the hard stares
when people walk by.

Sam: Looking around
at everybody else's,

I realized that a lot of people
were playing it really safe,

completely the opposite
of what we were doing.

Sometimes you just
gotta have big balls.

Tom: I look over my shoulder,

and Megan's raking the sculpture down.
I'm losing it.

We got 10 minutes, Megan.
You're re-sculpting the whole face?

- I'm not resculpting. It's lopsided.
- Okay.

I was just, like, one step away
from done, and now we're back...

Mm-hmm, but it's just, it was...

Yeah.

All right, guys, that's it.
Clean up. Tools down.

Let's get out of here.

- Come on, Tate!
- Coming!

Tom: We got a lot of
work to do tomorrow.

Conor: It's Megan's birthday today.

We did a little celebration
before our workday started.

Make a wish, girl.
Find the courage.

Oh, I hope I win a challenge.

Visualize.

Yay, all right!

It's Megan's birthday.
Yay.

- How's the festivities next door?
- They made her a cake.

"We should make her a cake."
I don't think so, no.

She doesn't... No.
I don't think so.

Hey, Meg.
I know Anthony made you a cake.

I wanted to get you like
an ice cream cake or something,

but I couldn't
'cause we're stuck here.

Megan: I want to get
to know Conor more.

Conor's a sweetheart.

[giggles]

Yeah, I like Conor.

- Thank you.
- No problem.

Jo: I think Megan's holding
on to Conor's coattails.

I think she's just trying
to win him over with her...

"charm"?

Good morning.

Second day in the lab,
we're looking at the sculpt,

and it's just not quite there yet.

Tate: Do you wanna start doing
some detail on the front?

- Should I?
- Get on at it.

We have a pretty long
day here, nine hours.

We need to get everything into mold
and start casting the prosthetics.

I'm doing my thing,
creating textures and creating stuff,

but Frank's not incorporating
those design's into the face.

There's no flow between
the face and the back.

Then I look over at McKenzie,

and Patrick Tatopoulus walked in.

I'm thinking, like,
"Oh, my God, they're gonna see

we don't know what's
going on between us."

I don't know that it was
always in the water.

I thought it would kind of be both.

So you guys need
to discuss about that?

Frank: At that point,
it just dawns on me

that we have no idea
what the hell we're doing.

The outfit is actually gonna
be an iridescent pearl spandex,

so it gives it, like,
that underbelly of a fish.

- What have you got going on?
- Yeah, what's in there?

Jo: When Patrick
and McKenzie come in,

everyone starts
second guessing themselves,

and with them over your shoulder,

you can completely think that you're
going in the wrong direction.

We've got very large
eye holes in the back

so the actor can positively see.

We've got nose and mouth
vents so that straws

and what have you can
get in there with ease.

Yeah, we didn't lock him
inside a blind helmet.

Thank you.

Anthony and Frank,
I didn't feel like

they were really on the same page.

Patrick: That's true.

Anthony and Frank don't
seem to be working together.

One of them is doing
a water creature,

the other is doing an amphibian.

Unless they start communicating,
their design won't work.

Some of them are
putting so much into it,

with, really, so little time.

You talk about an alien creature,

you need to bring
something to the table.

Gage and Marcel, and Megan and Tom,

both planning on an albino paint scheme,
which is tricky.

To make a creature look translucent,

they'll have to rely on
the intricacies of their paint job,

and subtle techniques
like veining to bring

the texture and skin
of their aliens to life.

Are you worried about any of
the teams or anything you saw today?

Patrick:
Conor and Jo, it's interesting.

I'm concerned that they're doing
such a large head prosthetic

out of silicone
since it's very heavy,

but silicone has such
a wonderful translucency

that their alien could really
come to life in the paint job.

Sam and Tate seem very ambitious.

It's a lot of pieces,
a lot of things to do.

Sam and Tate have a huge prosthetic,

so I'm glad they're
planning on using foam latex

since it's very light,
and will be easier on their model.

That said, they're taking a big risk

by having their model walk
backwards and covering his eyes.

I hope they can pull it off.

Megan: We're all super-busy
making our molds today.

When you're making a mold, you want to
cover your sculpture with wet cement.

After you clean up
the mold, now you have

this negative of your sculpture.

This will be used
to make a prosthetic.

Our mold is still wet,
and Tom wants to pull it out.

I see Tom put the mold onto a cart,

and lead it outside, and then trying

to pull the sculpture
out of this wet mold.

It's starting to crack.

[sighs]

You gotta think, the cracks,

we can integrate it
into our texture.

You can not use a crack and say,

"Oh, it's gonna
be part of the alien."

It's not gonna be part of the alien,
okay? It's a disaster.

It's definitely not set.

Tom: We had three hours left.

We had two legs, two arms,

and a bunch of costuming to do.

I'm trying
to make this project work,

and I'm getting met with
complete passive aggressiveness.

There's nothing we can do about it.
Just work.

Jo: Working with Conor makes me feel

like I've been babysat
the entire time.

- You have silicone in the mold already?
- No.

I'm not gonna [bleep] up.

So let's talk about this,

painting the silicone
and putting the silicone in.

What are you doing
and what am I doing?

I'm done. This is gonna be a horrible,
horrible collaboration.

Jo: The second day,
I'm working with Conor,

I felt like I'd been
babysat the entire time,

and the only way
to get across to someone

so that they know how the other
feels is to say something.

What are you doing
and what am I doing?

I have 20 years on Jo.

She hasn't cast silicone appliances.

I would like to paint.

Conor: I thought, "Okay,
well she's got an eye for detail

and for colors, we can make
something happen here."

- Cool.
- That's all I wanted.

- Okay.
- I just want to know where we're at.

I respect him for understanding,

and I'm glad that I said
something to him at this point.

Getting there, getting there.

Getting there, getting there.

How do you want to de-mold it?

Do you want to set it upright that way?
Try to pry this out now.

The clock is ticking down,
and I don't know

if the mold's gonna dry in
time to pour the foam latex.

It's still so chalky.

I'm just worried about time here.

Okay, I understand
you're worried about time.

Megan: Now we don't have
time to run foam latex.

It's a whole long process
that will take a couple hours to do.

We don't have a couple hours.

I really don't think
we're gonna get this done,

at least the way
that I want it done.

Tom: Megan is not a problem solver.

When the speed bump comes, she panics
instead of thinks on her feet.

Whatever it takes, I'm gonna get

the prosthetic pieces
made for this creature.

My idea is to use gelatin
because gelatin sets real fast.

I understand you're nervous about this,
but you know what?

We've got our faces done,
they look great.

Are you blind? This is awful.
This is all awful.

I just don't think
it's time to panic.

I would move on to the costuming.

Fine. All right,
I'll stick to costuming.

That's what I do, I stitch and bitch.
Whatever, I'm just an idiot.

Frank's not talking to me. I extended
the olive branch more than enough times.

What do you think
we should name her?

Something Latin, scientific-wise?

The Frankonian Mantonious?

No reaction.

Never mind.
Just talking to the wind.

I knew right then and there
the team thing was right out the window.

I have no idea what he's doing.

I'm starting to freak out a little

because now I'm thinking, like,

I'm not gonna go home
because of this guy.

Conor: You know what
I'm thinking, Jo?

What's that?

The whole time being
in the lab, I've noticed

Megan constantly looking over,

and I know that she's feeling uneasy

that I'm working
with Conor and she's not.

... and then work together
to get this side done.

- Yeah.
- Word.

Jo: You know?

I'm not jealous that I didn't
get to be on that team.

Can I get a what, what?

Wikka-wikka.

But I did want to be on that team.

We gotta start booking on this mold.

Let's set it on the floor.

I'm gonna try and crack the top.

It's not ready.

[bleep] It's not gonna pry up there.

It's really kind of scary.

This gigantic mold
might be the death of me.

Aw, [bleep].

We're gonna be making
quills as we go as well, so...

Just want to make
as many quills as I can.

Even though it was
a very simple thing,

it was super-important
for our makeup.

Really get that point.

Oh, I dig what you're saying.

When I made his quills,
I thought it would be best

to make them out of
friendly plastic.

They're plastic beads,
you melt them down in hot water,

and you pull them out,
and they become clear, like a clear goo.

They're very pliable and moldable.

As they start to solidify,
they turn white.

So I know it was going
to be the best bet.

I still think it's hilarious how you
have managed to pull [bleep] together.

Well, it has to be done.

But that's where we're clashing
because... I don't know, man.

I sculpted, I molded,
and now I'm making everything?

- What is she doing then?
- Texture.

But what's she doing right now?

She's working on wardrobe.

So I feel like I'm being made out

to be the bad guy here,
but I'm doing it.

Hmm.

We're all slightly on edge.

Sam: Our mold is still
not yet ready to crack,

and it's taking longer
than I want it to.

Ah, there it is.
Sweet.

All right, get to cleaning.
I'll pull this guy out.

All right.

Sam: Our models will
be here tomorrow,

and I'm worried that we're not gonna
have a prosthetic to put on them.

Fastest clean ever.

It will literally
be down to the second.

We're realizing that we have
to clean an enormous mold,

and it still
had chunks of clay in it.

We're not gonna be able
to get it done.

Somebody see how many
minutes we have left?

- Coming up...
- This is insane.

This is piss-poor collaboration.

You both had your heads
up your asses.

It's such a stunning piece of work.

What the hell were you thinking?

Can somebody see how many
minutes we have left?

Sam: We have 10 minutes
to clean an enormous mold,

and we're not gonna
be able to get it done.

Tate: Ow. We're screwed.

- Frank: Tate, what can I help you with?
- We just need to clean out.

All of a sudden, I just start seeing
shadows coming, and everyone swoops down.

They're, like, "What do you
want me to do? How can I help?"

- Here, move.
- Yeah.

Conor and I were pouring soap

because that's no way
for them to lose.

Of course, man.

Thank you, guys.

Tate: Everyone helping
me like this was awesome.

It was a crazy day.

Gage: Today is a big day.

We were all trying to
pull off our crazy ideas.

We've gone through
the steps, A, B, C...

and D.

So today, we need to apply the makeup
and focus on the paint job.

Now, all this has to line together
perfectly to create the overall image.

Yeah, you're a she.
This creature is back-jointed.

The crab walk was my idea,
and I know it's gonna be a risk.

So you've, like, got cricket legs.

Yeah, so literally...
Yeah.

That's a little crooked.

- It's heavy.
- Do you want me to apply it?

This is gonna flop off.

- Not with Telesis 5.
- Especially if we can't...

You put an "X" across
with Telesis 5,

that will stay on 'til no end.

I can't put it on his chest hair.
It's gonna hurt him.

Go for it, do what you want.

I'm a team player,
and if you're gonna fight me...

whatever.

My arms look amazing. Her chest has
seams on it bigger than the Grand Canyon.

Follow me with your new face.

Dude, I really need you to start
putting those prosthetics on her arms.

- Then just skip 'em, dude.
- I'm not gonna skip 'em.

Then you [bleep] do 'em.

So you're gonna [bleep]
around with the face?

[bleep] around, dude? If I don't get
the rest of this [bleep] painted...

Fine, fine.
Whatever, man, whatever.

We don't have that many
prosthetics to begin with,

and now you wanna cut
four of them out of the mix?

Look what's going on
across the room.

Tate and Sam have something
that I've never even seen before.

You wanna [bleep] do details,
do details. Fine.

Yeah, I'm not gonna try
and resurrect your shortcomings.

Oh, it's my shortcomings?
[bleep] you.

Like, you know what, man?
[bleep] you.

Frank's mentality was "I did my job.
He didn't do his"

- Got it.
- Awesome.

I get the piece out of the mold.

It needs to be trimmed,
it needs to be patched.

It doesn't have any paint.
We may not be done in time.

We should probably have him
go get in his wardrobe.

Uh, yeah, I'm working on it.

This is insane.

Your veins look good, dude.
They're solid.

That's time!

Gage: Now we have to
relocate to the stage

with our models for
our hour of touch up time.

We have one hour of touch up.
It's close.

Oh, my God, your mouth ripped.
Okay, I'll glue it down. Don't worry.

You can still tell it's a baby.
It's cool.

Center.
We're gonna fix this.

It was just panic mode.
Like, I start working on all the quills,

while Marcel's spackling
over his feet.

Five minutes, everybody.
Five minutes left.

Frank: I'm pretty confident
about being able to get it done.

It's not my best work by any stretch,
but it's gonna be finished,

and that's really all I'm
hoping for at this point.

Conor: That's it!

Welcome to the "Face Off"
Reveal Stage.

Tonight, one of you
will be eliminated.

But first, let's say
hello to our judges.

Owner of Optic Nerve
makeup effects studio,

- Glenn Hetrick.
- Hello, guys.

Three-time Oscar-winning
makeup artist Ve Neill.

Good luck, everybody.

Creature designer and director
Patrick Tatopoulus.

Good seeing you again.

And of course,
our very special guest judge this week,

Emmy and Oscar-winning makeup
artist Michael Westmore.

It's a pleasure.

This week, your spotlight challenge

was to create an alien
that might actually exist

on the newly discovered
planet Gliese 581 g.

Let's see what
you've all come up with.

Anthony: Joy walks out,
automatically I see the seam lines.

I look straight at Ve,
and she's sad.

I know what she was thinking.
"How in the hell did you do

"such an amazing body
paint in round two,

"come back for round three,
and dare to show me this?"

I wanted the judges to see that,
you know,

there's been some real attention
to detail here.

Tate: I knew it was gonna be a risk,

but you win big and you lose big.

I'm really proud of my makeup.

I hope that the judges
appreciate what I tried to do.

Gage: We did our best,
and if the judges like it,

then they do,
and if they don't, fine.

We're happy with it.
We'll see what happens.

Megan: When my makeup
walks out on stage,

it is the most disgusting,

awful piece of work I've ever seen.

It's awful, it's completely awful.

All right, judges,
why don't you all take a closer look?

- What is that down there?
- It's a fetus.

Tate: The womb is starting to
separate from the appliance

right in front of the judges.

It could completely be
a nail in the coffin.

- What is that down there?
- It's a fetus.

Tate: The womb is
starting to separate

from the appliance right
in front of the judges.

Interesting.

Tate: I'm hoping
that they award us for trying.

Could you step closer to us?

- It's a lot of silicone for one day.
- Oh, yeah.

It's kind of an interesting
color decision, isn't it?

To go from these grays
up here to like a solid white.

Let's see the pieces on the arms?

Could you turn for us
so we can see your back?

Can you move your head
and neck a little bit?

Just give us some motion, yeah.

Gage: I'm preparing for the worst

because I don't know
what they're gonna think.

I told Marcel whatever happens,
I'm happy that we did this

because I love that makeup.

Come into the light.

Those are some gnarly looking feet.

It's a shame that
they went and covered up

the luminosity of it with the paint.

I don't pride myself
in putting a piece of crap

in front of those esteemed judges.

The judges have
scored your creations.

Sam and Tate...

Congratulations because
you are safe this week.

Please head back to the makeup room.

- Thank you, guys.
- Thanks.

The rest of you were the best
and the worst of this week.

The judges would like to take
a moment to speak with each of you

to learn more about
your alien creations.

Conor and Jo, please step up.

First thing I want to ask is...

what the hell were you thinking,
trying to do that level

of quality in the time that you had?

I cannot believe that silicone
looks as good as it does

in the time that you had to build it.
I really can't.

[laughing]

Fortune favors the bold,
obviously, because I'm blown away.

I'm most impressed
with the silicone work.

There's translucency in
that paint, and I like that.

I was especially impressed
with the detail you have,

the wonderful time and effort
that you put in to all those

little wrinkles and lines
that are in the face.

Patrick:
It's such a stunning piece of work,

I was wondering, who did what?

Jo: I blocked out the back half,

Conor blocked out the front half,
and did the paint job on it,

whereas I did the paint on her arms.
I did the nails.

I'm into fingernails
so I love the fact

that you actually
gave her fingernails,

and went so far as to make them
different than human fingernails.

That's a really nice little touch.

You did a beautiful job.

- Congratulations.
- Thank you. - Thank you.

Oh, man.

Frank and Anthony, you're next.

Ve: I don't know
what went wrong here,

but I'm very disappointed
in both of you this week.

- Who sculpted the back piece?
- I did.

I think that should have
been on her face.

The back piece is quite beautiful.

It's completely lost on this
concept you have going here.

The eyelashes are totally goofy.

Who's idea was it
for the Spandex suit?

Was that a time saving thing?

Yeah, a little time saving.

Uh-huh.

From a distance, it reads
differently than up close.

Up close, I don't think the
sculpting is really creative.

The nose is too human,
the lips read too human,

the hair doesn't go with it at all.

Overall, it's a
little disappointing.

Who did what?

Well, I sculpted
a five-piece appliance

between two life casts
and Anthony was only

working on pretty much the backpack.

Anthony: And Frank just decides

to throw me under
the cross-town bus.

If you were painting everything
and applied the whole makeup,

what did you do during
the application process?

I was having trouble getting
the backpack to go with the Spandex.

It would have been the same problem
with skin. Spandex or skin, it didn't...

Well, I mean, I didn't spend two
hours yesterday walking around.

My parts were done.

He walks away from me
and leaves me to just keep going.

You were working on one piece, there
wasn't anything else for me to work on.

There was other things
that could have been done.

I did ask you and you were...

Yeah, the last 10 minutes,
but anyway...

I wish there was a better connection

and the result would have
been better for that reason.

McKenzie:
Let's talk to Marcel and Gage.

- Hi, guys.
- Hi.

I like this makeup.

It's very creative. I haven't
seen something like that before.

Who did what on the job?

Gage made a bald cap,

I sculpted the face,
Gage sculpted the back,

and then we both
worked on the chest,

and I did the crotch
piece and the tail.

I think you've done
a really nice job here.

The airbrushing of
the veins on the body,

I mean, that takes the time to do.

The albino thing, really well done.

I appreciate the economy of labor.

Obviously, you've got
a model with a great physique

and instead of trying
to cover it all up,

you worked with what it is you had.

- Good job, guys.
- Thank you.

Megan and Tom, please
take a step forward.

First, if you could, explain it,

because there's a lot
of color going on here.

First of all,
I would just like to say,

this is a perfect example
of piss-poor collaboration.

She just plowed apart
the sculpture on my face.

Megan, why did you change the face?

There was no texture.
It looked like a Halloween mask.

As for the paint job,
making things translucent

just wasn't going to happen
and I want to discuss...

Gage made an entire
person look translucent

with an airbrush and some paint.

And the reason why
the helmet's warped,

is 'cause Tom put it
on his head to fit it

and it was still warm,
and it warped.

- I had to fix it.
- That's 100% not true or possible.

You can see that you
weren't pulling together.

Probably one of the worst
things that can happen

as makeup artists because
you have to work as teams.

I gotta say, guys,
you both had your heads,

you know, up your asses, as it were.

There's so many really easy
things that you could have done

to make this thing look really cool,

like glued moss on him,
glued dirt things, you know,

to make him look like an
earthen type character,

and you were too busy being pissed
off at each other to make it work.

Glenn, why don't you tell
us about the top picks.

Our top two teams are Conor and Jo

for their illustration
of technical prowess

and well executed makeup.

And Gage and Marcel

for really unorthodox
but cohesive makeup,

and good team work.

Our top team tonight...

Conor and Jo.

- Thank you.
- No, thank you.

But there can only be one winner,

and the winner is...

Conor.

Thank you.
Thank you very much.

Rock on, man.
Rock on.

Congratulations, Conor.

You have earned the opportunity
to consult with the judges

as to who you think should
be eliminated tonight.

As for the rest of you, if you would,
please head back to the makeup room.

Thank you.

A whole lot of truth
just came out on stage.

The judges didn't have
to bash you guys,

you took care of that on your own.

Conor, who do you think
did the worst job this week?

I did get a chance to hear
and see what Tom was doing,

couple that with the way he wasted no
time throwing his partner under the bus.

I think Tom is the
one who should go.

Thank you. If you would,
please head back to the makeup room.

All right, judges,
what are your thoughts on Tom and Megan?

Tom and Megan's
actually had potential

Ve: Yeah, all they had to do
was agree on one thing so...

- They actually failed on all
three levels... - Yeah, they did.

Because they both touched
the sculpture, they both touched...

- They touched everything.
- So, like, everything was bad.

You can always save a crappy
piece with a good paint job,

and they didn't even
bother to try to do that.

Frank and Anthony.

It was basically a humanoid

that they put together,
and it didn't really

address the challenge
that was given to them.

It seems like Frank's attitude
sort of steamrolled Anthony.

That's okay if that
would have succeeded,

then Frank would have
been in the clear,

but when you take over like that and
then it sucks, you're in trouble.

It feels like at one point,
Anthony gave up this time.

Neither are good qualities, giving up
too soon, and being too overbearing

and not knowing what you're doing are
equally disastrous. It's a tough one.

All right, judges.
Have you come to a decision?

Indeed.

All right.
Who is going home tonight?

Who is going home tonight?

Glenn: Tom and Megan,
I feel that you spent

more time arguing than
you did creating this week,

and that's a huge problem.

Frank and Anthony,

you obviously had an
inequitable relationship,

and that resulted
in an absolute disaster.

The person going home tonight is...

- Frank.
- Yes.

Why'd you have that reaction?

This is a crazy train ride.

I've been having fun,
but I feel like

I've been taking
crazy pills the past week.

From the little bit of
time that I've seen you,

I think you really have to
take stock of your personality.

You have to learn
to work with everybody,

or you need to go find
something else to do.

Nobody does anything
alone in this business.

I mean, you're only
as good as your help,

so a really good lesson should
have been learned today.

Well, Frank, if you would, please head back
to the makeup room and pack up your kit.

I'm out, bitches, I'm out!

- Are you?
- [bleep] yeah, dude. Yeah.

- Serious?
- Yeah.

Frank, we don't know
if you're serious.

No, I'm out.

Frank: The one thing that I'm gonna
take from this that's positive

is kind of something
that I always knew.

I've always kind of
struggled with my attitude

and with my mouth.

Gotta, you know, kind of
buck up and clean up my act.