All language subtitles for Face Off - 3x01 - A Force To Be Reckoned With.HDTV.DHD.en

Welcome to the search

for the next great name
in movie magic.

Face Off is back.

12 talented makeup artists
will battle it out

in our most explosive
season yet.

My heart is pounding out
of my chest.

- Oh... no.
- Don't panic.

Are you kidding me?

Along the way, they'll face
mind-blowing challenges.

Star Wars.

The imaginative characters
of Dr. Seuss.

So many of the mistakes
are completely indefensible.

This week,
we are switching things up.

That's just too nasty.

You'll be incorporating items
from this junkyard

into a cyborg character.

The finish is stunning.
The design's very exquisite.

There will be
heart-stopping surprises.

Today's challenge could change
someone's life.

This is it.

And some of the biggest names
in the industry.

This is phenomenal.

You've done
a truly remarkable job.

He's a wonderful creation.

But to come out on top,
they'll have to impress

our award-winning
panel of judges.

Ve Neill, three-time
Oscar-winning makeup artist

whose work includes The Pirates of the
Caribbean films, The Hunger Games

and The Amazing Spiderman.

I'm mesmerized by the look
of this makeup.

Glenn Hetrick, cutting-edge
makeup artist on CSI New York,

The Hunger Games,

and critically acclaimed
Mad Men.

It's so well done
it blows my mind.

Patrick Tatopoulos,

visionary designer
for Stargate,

Total Recall,

and director of Underworld
Rise of the Lycans.

It's absolutely gorgeous,
beautiful makeup.

And joining our panel
this season is Neville Page,

renowned creature and concept
designer for Star Trek,

In the end, only one will win
the opportunity

to be a guest lecturer
at Makeup For Ever's academies

in New York and Paris...

I want this so bad.

A new 2012 Toyota Prius V...

I came here to fight
and compete.

Damn it, I'm gonna compete.

And $100,000.

I'm gonna be the next
Face Off champion.

And for the first time ever,
America,

your voice will be heard
in selecting the winner.

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

My name is Tommy, and I just
quit my full-time chef job

back in Columbus, Ohio

to become a full-time
special effects artist.

I just got off the plane,
I'm in L.A.

I know that I'm invited
to this exclusive party

where I'm supposed to meet
the rest of the contestants.

And there are some mystery
celebrity party hosts.

I just can't wait
to see who it is.

My name is Alana,
and I graduated

from the Tom Savini
makeup effects program.

I recently moved
from New York to L.A.

With my boyfriend, Ian
who was a finalist on season 2.

I finally get to where
this VIP party's supposed to be.

I walk out onto the roof...

and there's this beautiful party
overlooking Los Angeles.

There's pool,
there's a hot tub,

there's gorgeous women
everywhere.

There's a full bar
and then all of a sudden...

Awesome!
Hi!

It's Sean Astin.

Oh, my God, I was just watching
you like not two days ago.

- Really?
- Yeah!

He's the party host.

He was Samwise
in Lord Of The Rings,

he was Rudy,
and he was in The Goonies.

I don't think
I could have asked for

a better celebrity to greet me.

Fired up?

Yeah, dude, I'm ready to go,
this is awesome.

I'm Rod,
I'm a digital effects artist.

I've loved special effects
ever since I was a kid.

My passion is creating
characters.

I wrote a film where I play
26 different people.

- There's Rod.
- Yes.

- Sean Astin.
- Oh, hey.

- How are you?
- Nice to meet you.

- I'm your host for the day.
- That's great.

So get a drink,
make yourself comfortable.

- Alana.
- Hey, how are you?

Oh, my gosh, it's Sean Astin.

I had the biggest crush on him
when I was a little girl.

I'm totally overwhelmed
by all of this.

I am surrounded by only
beautiful people.

And the view is unbelievable.

- Eric, Derek.
- What's going on?

How are you?
Sean Astin.

- Wow. How you doing?
- It's nice to see you, welcome.

- I'm Derek.
- I'm Eric.

And we are fraternal twins.

I'm more of a sci-fi
effects artist.

I like to do creatures
and design aliens.

I just wanna make
that next big creature

that you see in an alien film.

- Eric?
- Yes.

And Derek.

I'm Derek, I'm a tattoo artist.

But my passion is makeup.

I'm into creepy horror-type
characters.

- Hey.
- Hey, there.

I'm Sean.

Pleasure to see you,
how are you?

You know,
I'm about ready to cry.

- This is so cool.
- Uh, don't cry.

No crying, it's all right.
It's all right.

My name is Joe and I am
a writer, producer, director,

and a special effects artist.

I've produced and directed
and created special effects

for 16 micro budget
motion pictures.

I'm CC.

I love to do beauty makeup,
weddings,

but I can also do gore
and monsters.

My second year in college,
I wanted to do makeup.

It just was in my heart,
but my dad didn't understand.

Being on the show
is a dream come true.

I feel like I'm gonna be able
to prove something to him.

- My name is CC.
- CC? Eric.

- Nicole.
- Oh, my God.

- Hello.
- How's it going?

My name is Nicole and my love
for special effects started

with my love of Halloween.

I have fibromyalgia.

It's a disease that attacks
all your nerve endings,

and it makes your body hurt
all the time.

The only time I don't feel it
is when I'm doing makeup.

Hi, nice to meet you.

Hi, there.
Sean Astin.

- Hi.
- How you doin'?

Contestants came filtering in
from all over the country.

I'm excited.

Hey! How are you?

We're sipping champagne
and everything is fantastic.

Then out of nowhere--

Hey, everybody.

- Oh, God.
- Oh.

The stunning, star-quality
McKenzie arrives.

Come on and gather around.

I am absolutely blown away.

McKenzie is so gorgeous.

And she just lights up
the whole rooftop.

Welcome to Face Off.

We are in the heart
of Los Angeles

overlooking Hollywood.

You are one huge step closer
to achieving your dream

of becoming the next big name
in movie magic.

Now, Sean here is not just
your party host,

he also happens to be the judge

of your first foundation
challenge...

Which starts right now.

Oh, my God.

I can't even stop my heart
from pounding out of my chest

'cause now I know
I shouldn't have had

those two glasses of champagne,

something's gonna go down.

Now, those are your makeup
stations and kits,

and you've actually already
met your models.

Models, take your places.

Your foundation challenge is to
create an original face makeup

that shows us
your artistic sensibility.

Your makeup must incorporate at
least one item from this party.

Everything is in play.

The winner will receive immunity
and cannot be eliminated

from this week's
spotlight challenge.

I want that immunity because
I would love to just have

the freedom in the shop
to experiment

without the consequences.

Now, Sean, you have spent
a great deal

in and around the world
of special effects makeup.

What advice do you have
for these guys?

Be yourselves, relax,

don't be nervous,
and let your passion come out.

It's my big-- big advice.

Nicely put.

All right, you've got two hours
to complete your makeups.

Your models and your stations
have been assigned randomly.

Good luck because your time
starts now.

Have all these plants and I
have no idea what I wanna do.

So I just start going through
the kit and I see a witch nose.

So I'm just gonna try
to maybe do

some kind of primitive
witch doctor-type of thing.

I've never done it before.

But I'm doing this kind of goofy
really neat-looking treebeard

lord tropicanas--
this God of the tropical land.

I'm Sarah and I am currently
working in an office

for my day job
but I wanna do makeup full-time.

In my kit, I found this mask.

So for my concept, I decided
to go with a superhero look.

I'm Jason and I got into
special effects when I was 12.

I always had of passion
for haunted houses and Halloween

and that's really
what got me going.

I found an evil
brow looking piece,

and then, I'm gonna try
to fit plant life into it.

My concept is a character
in a slasher film.

She is a cheerleader who is
burned in a hazing incident.

I'm using paper napkins
to create this burnt-fresh look

and pretzels
from the hors d'oeuvres bowl

to make a full set of teeth.

My name is Roy and I have been
doing special effects makeup

for almost 30 years.

I've been fortunate enough
in the last two years

to get to where this is
all I'm doing all the time.

For this challenge,
I wanna do something different,

so I decided
to make a human bird.

I'm thinkin' I can take
a soda bottle and twist it

and make a beak out of it.

Part of this challenge is
to put a piece of myself

into this makeup.

So what better
than something scary?

So I'm making this warrior,
and he's in a battle,

and he just rips
a dude's heart out.

You have one hour left.

I'm creating
a reptilian-type character.

I'm using lentils to give it
a little bit of texture.

My name is Laura

and I'm a self-taught
special effects makeup artist.

I would love to be
the first woman to win this.

I would also like to give some
of the prize money to my mother

so she can be as happy
as she's made me.

For this challenge,

I'm going to make a jungle cat
with a flower as an accent.

When I saw the bird
of paradise flower,

I thought I could
make something with this.

I'm thinkin' some kind of
forest princess creature.

She needs camouflage
'cause it's a colorful forest.

Even though I'm so focused
in what I'm doing,

I look over
to my brother Derek's makeup

and I'm like,
damn, I'm blown away

by how awesome it looks.

Fantasy with plants is not
in my comfort zone at all,

so I'm taking huge chances.

Going through my kit,
I pull out eye bags.

I flip them upside down
and make them into eyebrows.

I'm taking napkins and creating
texture to his face.

I think my makeup's starting
to come together.

I'm looking at the leaves
I put on her

and I go with the color
scheme of the reds,

and then I start highlighting
some yellows

to give her a flowery-look.

I wanna make my model into
a voodoo-esque twisted man.

Knowing the time limit
that I have,

I'm sticking with materials
that I'm used to

so I go for the third-degree
for the scarification detail.

I'm also using leaves
to make a neckpiece.

I am not thinking at all
about the competition.

I'm having a blast doing this

because this is right up
my alley, it's my forte.

Close your eyes.

I really know how to gross
people out

and this is coming
along smoothly.

Hold your breath.

All right, everybody,
that is five minutes.

It's panic time.

That's it, time's up.
Brushes down.

I am so excited to have Sean
look at my work.

I definitely want
to impress him.

He's been around makeup and he
knows what he's talking about.

I was thinking something
like a-- like a tribal warrior.

He rips hearts
out of other villagers.

I like the way
you synthesized the character.

This thing-- all of a sudden
informs everything.

Yeah.

I just gathered cool-looking,
bright-colored leaves and stuff.

And I thought, "okay, maybe
I can do some kind of witch."

I think it looks like
an exotic bird

and sabretooth or something.
Yeah.

- You did a really good job.
- It's really good work.

- Joe!
- Sean, how are you?

I'm scared, man.
I'm not gonna lie.

Hi, Joe.

She is a senior cheerleader.
She was burnt.

She returns to seek revenge

on the cheerleaders
that did this to her.

It definitely has an emotional
and evocative feeling.

It is creepy and scary.

But there's something
erratic about it.

Don't love it.

I'm not surprised.

This comes with creating
something truly original.

I have encountered this kind
of criticism my entire career.

I just went off from the
colors of the bird of paradise

for the makeup.

Most of it's airbrush.

The coloring and shading
is pretty amazing.

- Thank you.
- I created a voodoo man.

I wanted to incorporate
the pattern

from the plant onto his face.

I mean, it's interesting you
chose not to do any prosthetics,

so it looks not finished
and the painting,

there's something
unnatural about it.

I am disappointed with myself.

I've done much better work
than this.

When I see everyone's makeup,
it's anybody's game.

I see that I'm surrounded
by crazy talent

and I'm getting
very intimidated.

All right, Sean.
So how did they do overall?

They did great.
They did great.

They're all incredibly talented

and the work was beautiful
to look at.

All right.

Who were your favorites
of the day?

It wasn't easy.

One of the top two picks
is Derek.

The painting work,
the lines, the shading--

It just really felt
like a character,

so congratulations on that.

My other top one is Eric.

The craftsmanship and the way
that you did the shading

and getting the lines
so organic and natural

and yet be really precise
at the same time.

I'm surprised
that out of 12 people,

both of us would be
the-- the top two.

But whoever wins it, we're
gonna be proud of each other,

no matter what.

All right, Sean.

Who is the winner
of today's challenge?

The winner
of today's challenge is...

Coming up...
Your challenge is based on

the most influential
film franchise in the history.

Oh, my God.

- No, no, no.
- Fuck.

It's singularly unexceptional.

All right, Sean.

Who is the winner of
our first foundation challenge?

The winner of today's
challenge is...

- Eric.
- Yes.

Wow, that's cool.
Thanks, man.

The silhouette of that
character just kept grabbing me,

so that's why I picked you.
Good job.

Having that first win is gonna
give me more confidence to go on

to the next challenge where
I can do even more cool work.

Eric, congratulations.

You have earned immunity
in the first spotlight challenge

and cannot be eliminated.

All right, guys,
with that I will let you go

to check out your new house,

and I'll see you tomorrow for
your first spotlight challenge.

Bye, thank you.

Oh, my God.

So we pull up to the house
and we all bolt inside.

Running around checking out
all the work from last year.

We really couldn't
have expected more.

- Claiming, claiming!
- This is it, this is it.

I'm jumping up and down
and I look on the wall

and there is Rayce's
Tim Burtonesque cello player.

I'm like, "ah! Burtonesque
room, Burtonesque room."

I'm so excited.

We gotta see the outside.

We're on the top of a mountain
and there's a gorgeous view.

This house, it's something
that a celebrity would stay in.

Today's the first spotlight
challenge,

and we're walking
around the FOX studio lot.

This is where we all wanna be,
we wanna work in films.

Everyone's excited.

And then, we turned the corner.

No... no way.

There's McKenzie and there's
this giant Star Wars mural.

Welcome to the 20th Century
FOX back lot.

Your first spotlight challenge
is based on the most influential

film franchise in history...

Star Wars.

Oh, my God.

I'm old enough that I actually
saw Star Wars in--

in it's original
theatrical run.

Since 1977,
Star Wars has expanded

to everything from
action figures to video games.

There's even an animated series,
The Clone Wars.

And that brings us
to today's special guest.

He is a longtime Lucas Film
collaborator,

and he also happens to be
the voice of General Grievous

in Star Wars, The Clone Wars.

Please say hello
to Matthew Wood.

What's up, bro?

As a long-time Lucas Film
collaborator,

there are many classic
Star Wars scenes.

What's one of your favorites?

First scene I remember as
a kid when I was five years old

was the cantina.

Every little corner is filled
with a different race of alien,

so that was my favorite.

And that, my friends,

is the focus of our first
spotlight challenge.

You're going to need to create
an alien that would fit

in a modern version
of that classic cantina scene.

Oh.
I'm geeking out.

I know that cantina scene
inside and out,

so this is a dream come true.

Now, you'll be working in
randomly selected teams of two.

Team one is Alana and Nicole.

Yeah, girl.

- Yeah!
- Get it.

Team two is CC and Derek.

Cool.

Team three--
Joe and Tommy.

Joe's foundation challenge had
to be nerves and I'm like,

"okay, benefit of the doubt,
we can make this a great team."

Team four--
Roy and Rod.

Oh, cool.

Team five is Laura and Sarah.

Team six is Eric and Jason.

Awesome.

Eric has immunity,
and if something goes wrong,

I'm the one that's gonna go.

All right guys,
we have a surprise for you.

Matthew?

We're gonna feature
the winning character

in this challenge on the
official starwars.com website.

Both in its original form
that you've created

and in the style
of The Clone Wars.

Wow.

Being on the actual
Star Wars web site--

how many people get
that chance?

It just makes me wanna win
this even more.

Good luck, and may the force
be with you.

- Thank you.
- Bye.

Oh.

Oh, my God!
Yes!

Walking into the lab
is literally a dream come true.

Oh, these are the models.

So, it's time to pick
our lifecasts.

When you pick a lifecast,
you're picking a stone copy

of what your model's
face looks like

so you can sculpt on top of it.

I'll get my sketchbook.

Okay, so we're gonna
draw out your ideas.

I'll draw mine
and we'll compare them.

We need to get our concept
and our design down

before we start sculpting.

As we're talking,

we realize that we have
basically the same idea.

Roy's describing
his exoskeleton,

I'm describing my little guy.

And they fit
perfectly together.

I can't believe
we got Star Wars.

We find out we're both
Star Wars fans.

It is exciting to work
with someone who is a geek too.

I want something
to read female too.

- Yeah.
- You know?

We decide to make her
this bad-ass femme fatale

bounty hunter.

- I like this idea.
- Perfect, let's do it.

I really wanted to do a woman.

I start to bounce
my ideas off Joe.

Two nostrils
and just simple teeth.

She's a-- she's a tough girl.

If a turtle's shell
was actually made of flesh.

But it's was really hard
to get my thoughts across.

I was thinking of this.

It's important to do something
that's truly original.

He wants to put the eyes up
here and make the nostrils

where she can see out of...

So our character ends up
being a female bodyguard.

Our character, we're gonna do
actually like a jazzy-type alien

so I felt like this character's
gonna be how jazz is,

just very laid back.

Our design is a bounty hunter.

So Jason and I want him to look
like a mercenary martial arts

assassin-type of character.

The next step
in making a prosthetic

is sculpting clay on the cast
of a model's face

which will be used to make
the prosthetic.

- You want me to try it out?
- Yeah, man.

Do what you do.

Nicole and I, we're totally
vibing off one another.

We're thinking
super pointy shoulders,

super high cheek bones.

She is going to be the party
girl of the cantina scene.

She's gonna be a waitress
to collect those tips

so she can get on
to the next party.

I start right in
on sculpting the face

and the little fat body that's
gonna be in the exoskeleton.

And Roy,
the master of fabrication,

starts building
the entire exoskeleton.

I think, it should be,
you know,

dark to light in the middle,
you know,

where the pupil's gonna be.

I think our character
is actually gonna

pop out of the scene
a little bit more

just because of the color
choices that we wanna go with.

I don't want the character
to get lost in the background.

I start sculpting out the face.

I'm in the zone and I have
a constant distraction.

I told you that this was not
supposed to be a nose.

It's supposed to be cut off
altogether.

I'm being treated like
I've never done this before.

I am miserable.
I can't create.

I feel blocked.

No, no, no.

Dude, separate the teardrops.

It's very hard for me to focus
and this is the first challenge

and I don't want
to screw it up.

Fuck it.

It's phenomenal to do
this Star Wars challenge.

Star Wars is such
a classic movie.

It's hard to believe that
anyone has not seen it.

I personally... um...
embarrassingly enough,

I've never watched
the Star Wars movie.

I should know these characters.
I should know it's in this movie.

I'm not a big Star Wars fan.

I've seen parts of the movie,
I just haven't watched it.

I don't know how it's gonna work for
those folks that haven't ever seen Sta--

- So push it down
and bring it in.

I am miserable
working with Joe.

I can't create.
I feel blocked.

I told you that this
was not supposed to be a nose.

So cut it off altogether.

Fuck it.

Look at that!

It's cool.

I just feel like
we should do something else.

After looking around the room,

I think Alana and I need
to add something to our design

to just really
kick it up a notch.

So I'm making a cowl,

which is a prosthetic
for the back of the head.

Neither one of you
have done a cowl,

but we're like, you know what?

We're gonna do it, yeah.

So it's the end
of the first day,

the hands are pretty much done.

So for tomorrow, Eric and I were
hoping to get all our pieces

molded and ready
to run the foam.

That flair needs to come out
further than this one.

Neither one of us have done
anything this difficult before.

We have the least experience
out of anyone who's around us,

and that makes me nervous.

All right, guys, time's up.

Wrap it up, we gotta go.

So it's day two in the lab
and we have ten hours today

and there is a lot to get done.

I like that.

The face is sculpted,
it's ready for molding.

This is the process where you
make an outside shell

of the sculpture.

You open it up,
you put the foam latex, bake it,

and when you're done,

you have a foam latex appliance
that fits perfectly

on the actor in the shape
of the new face.

I finished the face piece
pretty quickly

but CC's taking
a little longer than I thought.

I'll help you with this
so it goes a lot faster.

Hey, everybody.

I'm here with your series
judge Patrick Tatopoulos.

Hi.

Ah! Okay. Oh, my God.

Patrick's here.
Oh, my God.

Okay, so tell us
about your concept.

I wanted to work with the
alien's body, making it smaller.

But in something big just to
change the shape of the human.

- You have any designs?
- Yeah.

Whoa!

Yup.

That's pretty ambitious,
that's fantastic.

Sleazy, dirty person,
just nasty looking.

It's really
a very interesting design.

In the scene, we wanted to go
more of the music aspect,

so he's actually gonna be
like a jazz player.

Any kind of craziness
on the coloring?

Normally,
when you think of jazz,

it's very sensual.

So we wanna actually bring that
through with the color.

Great stuff, I love the design.

I look at some of
the shapes you have.

They are very kind of wobbly
which is cool, I love that.

Yeah, I'm just worried
about this head like being able

to dig out the mold in here.

Our sculpture has
a lot of undercuts

and the casting material
getting stuck

and locking into the mold

is very high-risk
with our design.

Good luck, it's gonna be
an interesting one.

Yeah.

We want to do
a bounty hunter or assassin--

kind of more martial arts.

What's the texture of it?

Some metallics and iridescence.

Great.
It's very interesting, this

is this like a reptilian,
hard shell kind of thing?

She is almost amphibian

and that's why we we're
gonna put a mask on her

and maybe have her
reveal it later.

This is a very nice design.

Thank you.
Oh, my gosh.

Color-wise, you already have
some sort of an idea

where you wanna go?

I would like to go
very sun-dried and dark

like the planet that she's on.

Joe's painting it,
and I'm not fighting him.

It's either his way
or the highway,

so let's try to get
through this.

How are you guys working
together?

We wouldn't fight if we
weren't passionate about it so.

- I can see that.
- Thank you.

Good luck, thank you.

Okay, so let's start
with Roy and Rod.

What do you think
about their concept?

- I'm very impressed with them.
- Mm-hmm.

It's super ambitious.

If they pull it off,
I think it's amazing.

Let's move on to CC and Derek.

They have the jazz player,
the saxophonist.

I think the sculpting
is amazing.

The concept is, again,
very good.

Mm-hmm.

It's very, very tight
sculpting-wise.

Okay, Alana and Nicole.

You seemed to be
a little worried.

Oh, yeah, for the approach
on the back of the head...

Right.

And trying to create
an incredibly complex mold

when there was options for them
to go via fabrication.

Okay, and then we have
Joe and Tommy.

Some of the conceptual ideas
are very strong.

It's very important that people
come up with ideas

we haven't seen before--
very, very important.

- We'll see tomorrow.
- Sounds good.

- Thank you.
- All right.

All right, everybody.

Thank you very much
and good luck.

We gotta mold.

It's-- it's not--
We don't have any time

to play around with it.

Molding a cowl, a face,
two hands, two arms--

That's a pretty daunting task
in the time allotted.

Yes.

Perfect.

About halfway through the day,
Roy finished the head mold.

And I'm having to work
on this mechanical suit.

- You had it on?
- Yeah, yeah.

Show it to me real quick.

I see Roy doing an excellent
job building this piece of art.

To me, it's so unbelievable
that he can build that

in such a short amount of time.

I seem to work better
under pressure

than I do whenever I have
a lot of time,

'cause then I tend to waste it.

Excellent.

On the armor, I'm thinkin'
instead of doing like two

like mechanical arms,

I wanna do one
for like a weapon

so it has-- actually has
a little bit of motion.

This is either gonna be--
just blow people's minds

or it's gonna really suck.

It's getting down
to the deadline

where we need to get our molds
done and cleaned.

Joe was working on the cowl.

And I have to mold my hands.

We got to get them out,
we gotta get them cleaned,

we gotta go.

Unfortunately for me,
Joe is constantly needing help.

Will you do me a favor
and stop and clean this one out?

So I have to keep stopping
and going over

to help him finish his work.

- Tommy?
- Yup, coming.

You wanna grab
that side right here?

It's out, it's out.

If I have this mold cleaned out

by the time you're done there,

I'm gonna be pissed as hell.
I'm gonna be so pissed at you.

I don't see this make up coming out
as we envisioned it.

I had to stop, dude.

I didn't get a chance
to start cleaning these.

Don't blame me for those hands
is all I'm saying.

It sounds like you're
getting ready to.

- I'm not blaming anybody, Joe.
- Yeah, you are.

Tommy doesn't appreciate
the amount of work

that is involved in creating
a complete character

and this is
a big struggle for me.

You're saying that you had
to stop and help me.

That's why your
hands aren't done, right?

Multiple times.

I'm trying my best
to just hold it together

and get this project done,
but I'm just beat.

Now, if you'd just stop
running your fucking mouth

and help me half the time,
we'd be all right.

Instead, you just got to make
little smart-ass comments

on how you've been doing it
for 20 years.

- What, what, what, what?
- Life's too short, guys.

It is impossible
to save this team.

Bye.

Now, if you just stop
running your fucking mouth

and help me half the time,
we'd be all right.

Instead you just got to make
little smart-ass comments

on how you've been doing it
for 20 years.

It's our second day
in the studio,

and I'm already dealing
with this level of drama,

and I snap at him.
Get the fuck out of my face.

- No, I'm not going to.
- Life's too short, guys.

Bye.

I'm very upset at this point.

I think that the only way
for us to accomplish anything

is just to work separately.

Watch your back.

We have a lot of work

and it's gonna be
a really big time crunch.

I have never ever done
anything close to this.

I'm trying to mold this cowl
as fast as I can,

and it's gigantic.

There's tons of clay
on this thing.

I'm worried about it locking.

Oh, my God, it hope it works.

So is there anything else
I can help you?

I need help getting
these slips casts on.

At this point, I feel sorry
for Tommy a little bit

because I know he's trying

and he wants to get out
a good piece,

but Joe keeps going off on him.

No, seriously, are you gonna
feather these edges?

You're like completely--

completely acting
irrational right now.

If you're not feathering
these edges,

this is not gonna work.

Oh, my God.

Together, Tommy and Joe are
a train wreck

waiting to hit a car.

This is really thick,

I probably wouldn't have
gone this thick but okay.

I would have done
just like one layer thick

and then the other-- okay.

I hope it's not too Jedi.

We're doing
a Star Wars challenge,

and we are making a character
for the iconic cantina scene.

The pressure is incredibly on.

Just thinking about fabricating

this backpack respirator.

Yeah, go for it.

Our alien is from the Dagobah
System like Yoda.

Which we thought would be
a nice contrast,

because if she's from a moist,
wet planet

and she has to change
to a desert planet

she would need some sort
of breathing apparatus

in order to survive.

And that's our concept
going in.

Not only does it look cool

but it's also keeping
her alive.

There.

Me and Alana are
in the mold room

and I'm realizing
this is taking way too long.

People are coming in and leaving
and we're still there.

- We need to get out of here.
- It's gonna be fine.

I don't have enough time
to get the cowl done.

I'm gonna forget
about that right now

and I'm just gonna focus on
cleaning out our face mold

and getting these arm pieces
ready to go.

Can I help?

Dude, we messed up the cowl.

Rod sees us struggling,
he sees the panic on my face,

and he just comes over
and saves our whole day.

- My hands are your hands.
- All right, yeah.

Okay?

I wanna make sure that their
molds are ready for foam latex,

because that would be horrible

if they don't have
their key pieces done.

I'm gonna take these over
to the other shop.

Rod figured out what we need
to do, when we need to do it,

and how we need to do it.
Careful, careful.

I'm in love with him
at this moment.

Without Rod we wouldn't have
had our pieces ready in time.

There we go.

Oh, beautiful.
Beautiful.

If this mold
doesn't open up right

or just falls apart and cracks,
I'm in trouble.

Me and my brother,

we've never competed
against each other.

We're always working together.

It's not coming out.

Do you have the strap
on the right way?

Oh, I don't know.

Eric and I are tight and we
always like to push each other.

It's a little nerve-wracking
opening up a mold.

You just don't know
if it's gonna open easy

or break while you're trying
to get it pried open.

Luckily we ended up popping it
open pretty easy.

- Alana?
- Yeah, girl.

You wanna start helping me
with this?

We finally get our-- our face
and our arms done,

but the clock is still ticking

and I'm trying to think about
finishing up the cowl.

This cowl is crucial
to our makeup.

It completes the overall
look of everything.

So I just feel like I should
break it open

and at least see
if it turned out.

- Got it?
- Yeah.

Without the cowl,
the headpiece is just a face.

And it wouldn't look good.

- Oh, yeah!
- Oh, my God!

This is good.

We finished the mold
but we're running out of time.

All right.
Let's do it.

And we just start
cleaning it out.

We're grabbing the clay
out of it any which way we can

and Nicole is not ready
to give up on it.

I finally get this thing
cleaned out,

so I have a little bit of time.

I find the right latex

and I start painting
my first layer in.

All right, guys, that's time!

It doesn't have time to dry.

There's nothing I can do
at this point.

Our prop is not finished.

Our cowl is half-assed
and our stations are a mess.

We have a lot of work to do
in five hours tomorrow.

Good to be home.

Looks like we spent a day
in the quarry.

So how do you feel now?

We have a lot of obstacles
tomorrow.

I'm worried about our cowl.

I'm having super mixed emotions
about tomorrow.

Concentrate on the work.

Do your best work
the best you can.

I have, at this point, I think
more faith in Alana

than Alana does in herself.

Come here!

I could see in Tommy's face
just this ridiculous pain.

If it gets down
to like the bottom

and you guys are one of
the bottom groups,

what are you
gonna say to the judges?

You know, I don't wanna be
one of those guys

that throws somebody
under the bus,

but I'm sure not gonna--

I'm not gonna go down
without a fight.

So it's application day.

We have four hours to get
everything done in the lab.

And then we have one hour
for last looks

and then it's out of our hands
at that point.

Hi.

You're gonna be a badass
assassin bounty hunter.

Okay, okay.
Boba Fett watch out.

Its very, very alien flower
inspired.

The cowl has to go down first
before the face.

So the first thing
that I have to do is run latex.

It dries very quickly--
about 20, 30 minutes.

Hello. I'm Joe.
Nice to meet you.

Today,
going into this challenge,

I'm telling myself
no matter what,

I am just going to do
what he asks me to do.

There is no options
on not using these.

Got you.

Oh! Awesome!

There's a lot to get done
in four hours.

Rod's gonna spend his time
applying the makeup.

So while he's doing that
I'm making our polyfoam body.

I need to see
where I place the body.

If I just put it on there and
it's not in the right position,

there's gonna be a big gap

between
the appliance and the body.

Base of your neck.
There.

So right around the bottom
of these right here

is where this here needs go.

He looks like a tubby bastard.

Seriously, girl,
we're not gonna have any edges.

We still need to finalize
our costume,

we still need to get
everything glued down

but the main thing
we want do is color.

Fuck.

I'm starting to peel out
the latex mold.

I start to feel wet latex.

And I know that it's already
ripping and it's not working.

- We have three hours left.
- Okay.

- I know I can make a hat.
- All right, make something.

If this doesn't come out,

our makeup's gonna be very,
very minimal

compared to what
everybody else is doing.

- Are you stressed?
- No, I'm good.

I'm just trying to work
as fast as possible.

Yeah.

We gotta-- we gotta
step it up today, you know.

Derek keeps saying like,
"we need to step it up.

You know,
we don't have a lot of time."

We need to step it up.

We got to go a little bit
faster.

It is what it is.

We're gonna need to--
we need to step it up.

I just wanna go fast, you know.

Yeah. No, I get it.
I get it.

I'm trying to stay out of
Derek's way because I'm noticing

that he's not working well
under stress at all.

- The colors are looking good.
- Yeah.

As I'm working I'm noticing

I can't find what I need
to make this work.

Wow.
I don't know.

I'm in a little bit
of a loss right now.

Alana has a piece in her hand
and it doesn't look good.

All right, well, do you want me
to go back to that?

I'm really starting to worry.

- Just keep casting the thing.
- All right then.

I'm sorry.

So I'm gonna do it.
And I'm gonna start over again.

I have faith right now...
Sort of.

The paint is so important.

Like right now I'm freaking out

because the color
is not coming out.

It's too red and I wasn't
really going for a red look.

We were trying to go
for an orangey, you know,

maybe even skin-tone color,

and it just didn't
come out that way.

- Yeah, dude, be nice.
- Okay, okay, okay.

I can hear her going,
"ow! Stop!"

And like she's not happy.

- When you press down...
- I understand.

- Like my neck is like...
- I understand completely.

At this point
I'm just getting embarrassed.

- 49 minutes.
- Fuck.

That's the fastest four hours
I've ever we had in my life.

I don't understand how it's
gonna stand up on the head.

I'm starting to peel out
the slip latex mold

and Alana's really,
really frantic at this point.

Are you sure you wanna be
responsible for that?

I could go make something
right now.

Oh, man.

A cowl goes down before the
face especially for our design.

So until this cowl is finished,
I cannot lay this face down.

I'm pulling it out right now.

If this doesn't come out,
we're gonna be screwed.

It worked dude.

Now we rock n' roll, girl.

Try to fill a little bit
of paint on that face, too.

We're so behind at this point.

I'm looking around
and everyone has

amazing paint jobs on
right now.

And our girl is bare.

This is not good.

If we don't pull
this paint job off like amazing

we're gonna be in the bottom--
No pressure.

All right, that's it!
Times up!

Our cowl is not painted.

Our model has her arms
painted barely

and our face
is completely blank.

There's no way
this is gonna work.

We're in trouble.

Coming up...

Welcome to the Face Off
reveal stage.

I think it's amazing.

I'm just smiling
from ear to ear.

It looks like a squished frog
that you put an easter hat on.

It's singularly unexceptional.

I'm starting to stress

especially after seeing
everybody else's work.

We have one hour backstage
for last looks.

And there's a lot to get done.

Please be careful
with this prop.

It's made with a lick
and a promise.

I honestly believe we're gonna
be in the bottom two with this.

So maybe not the costume first.

We absolutely should put
the costume on first.

We have to get that costume on

because it's a full suit
of female armor

- and it's gonna take time to put in on.
- Not the costume first.

Joe decides, "oh, no,
I gotta paint everything.

We can't put the costume
on yet."

Maybe we should have him stand.

Now is the time to panic.

Because we haven't tested
any of this

except for the main body piece.

I don't know how the legs
and the arms and all that

are gonna fit our actor.

That's ten minutes everybody.
Ten minutes.

This is good.

All right, I'm gonna
keep painting, okay?

Oh, my God,
I am in love with it right now.

Our creature's
just wearing underwear.

The entire concept
is completely lost.

All right, guys.
That's time.

- We got it right here.
- Whoo!

She doesn't have her shoes
or her staff or anything.

It's okay.
It's okay.

We didn't even have a chance
to put her boots on.

So she's barefoot.

Welcome to the Face Off
reveal stage.

Tonight one of you
will be eliminated.

Say hello to your judges.

Owner of Optic Nerve Makeup
Effect Studio Glenn Hetrick.

Welcome, everyone.

Three-time Oscar winning
makeup artist Ve Neill.

Hi, guys.

Creature designer and
director Patrick Tatopoulos.

Hello.

And just so you all know,
starting next week,

Patrick is gonna begin working
in Bulgaria.

He's the production designer

for the highly anticipated
300 film

Battle Of Artemisia.

So, Patrick, we will all
miss you so much,

and we wish you the best
of luck.

Well, I'm gonna miss
you all too,

but you guys are
in great hands.

And good luck to all of you.

With that, let me introduce
you to your new series judge.

He's an incredibly accomplished
creature and concept designer

who's worked on Avatar,
Star Trek, Super 8,

Green Lantern, and Prometheus.

Please give a warm welcome
to Neville Page.

Neville just has a huge list
of credits.

It is so impressive
to have him on the panel.

Thank you very for having me.

Well, thank you so much
for joining our amazing panel.

So, guys, this week
your spotlight challenge

was to create an original alien

that would fit
into a modern version

of the classic
Star Wars cantina scene.

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

I'm feeling pretty good
about our makeup

but at the same time,
with my partner having immunity,

if they decide they don't like
something about this one,

that's on me and me only.

It's just... awful.
I can't even look at the judges.

I think she looks amazing.

I'm just smiling
from ear to ear.

Hopefully the Star Wars geeks
out there appreciate it

as much as me and Sarah do.

As we planned,
the silhouette looks awesome.

Everything else
I'm starting to stress

especially after seeing
everybody else's work.

This is perfect.

This is better than I thought
we could ever do.

I think we can honestly maybe be
a top look for this.

I'm not 100% crazy
about our creature.

But I'm most happy about
my chest piece because you can

actually see the texture
which was my goal.

All right.

Let's see them all together
in our version

of the Star Wars cantina scene.

Judges, why don't you take
a closer look?

For them doing all that stuff

it stayed together really well.

Move your face around
as much as you can in there.

Hmm.

Glenn's, like, knocking
on the vacuform pieces

and they're poking at the pieces
that weren't really glued down

all the way.

So I'm not sure where we stand
in the judges' eyes.

Okay.
So this is worn out.

Uh, does that look intentional?

There's not
a whole lot happening.

No. No.

Structurally on the neck
either.

You can almost smell
their disgust with the makeup.

No toes.

No feet.

You can see it from
a mile away, it's garbage.

It's a mess.

I'm thinking
I might be going home.

We wanna know what you think
of tonight's transformations.

Tell us on Twitter using
#faceoff.

Anyone can see, from a mile
away, our makeup's garbage.

Where did they pick this up at?

And I'll be damned if I'm not
gonna defend myself.

Can you put that on so I can
just get a look at those?

It's very nerve-wracking
to see all four judges

looking at your work,
poking, prodding.

Really around the lip.

They used the lip liner
that just covered it.

That's beautiful.

Can you articulate that?

Oh.

I like that it does make
a connection to the head.

- I mean, it's cool.
- Yeah.

Open your mouth and close.

Thanks.

Okay, the judges have scored
your creations.

Let's find out
what they thought.

Eric, Jason.

Nicole and Alana.

Congratulations.

You are all safe and can head
back to the makeup room.

- Thank you.
- Thank you.

- Thank you.
- Thank you so much, guys.

I am jumping for joy, 'cause
I'm here for one more week.

Okay, that means the rest
of you were the best

and the worst of the week.

The judges would now like
to speak with each of you

to learn more about your work.

Laura and Sarah, step forward.

All right.
Glenn, let's start with you.

I'd like to begin by asking
to tell us a little bit

about the concept
behind your character.

She comes from the Dagobah
System which is very moist,

but she lives on Tatooine.

That's why she's got
the breathing apparatus.

And her costume helps retain
that moisture.

It's the whole suit get-up.

I'm pleased with this.

Rick Baker's work on the aliens
in the cantina--

even though they're technically
background characters,

each of them have
their own backstory.

And the fans have come
to embrace that

and extrapolate upon it.

It meets that bar to me,

it feels like it has a story
when I look at it,

and it feels like it belongs
in the cantina.

- Thank you.
- Thank you.

That's what we were going for.

Would you mind removing
the cowl for us

so we can see the
whole costume?

Yeah, she's fantastic.
She has a great profile.

I really love
your color choices.

I love the costume.
Really excellent job, ladies.

- Thank you.
- Thank you very much.

- Congratulations.
- Thanks, guys.

You know,
there's one thing you did

that nobody else did

is put that cloak on top
of the character.

And when I look
at this cantina scene,

they all seemed
to be coming from the desert

and they're wearing
those cloak on top

and that was
a very clever touch

to bring it into that world.

- Good stuff there.
- Thank you.

I like the fact that you
mentioned the Dagobah System.

She has a specific origin.

So you've been doing
your homework which is great.

We're such geeks.

The fact that you brought
all these bone lines

throughout the head

down into this really very cool
wrist articulate treatment,

I thought it was beautiful
detail.

Out of all the makeups
that I think we've seen,

several seasons, edgewise,

this is probably the cleanest
makeup that I've seen.

Wow.

Thank you.
Please step back.

Derek and CC, you're up.

Can you tell me a little bit
of back story

about where your character
comes from, why he's red?

He's a desert creature
from Tatooine.

We wanted to pull
the musical element into it.

So we decided to give him
a musical instrument

and just kinda make him more
of a jazzy-type alien.

I think maybe you've done
yourself a great injustice

by choosing that color
to paint him.

Painting him red,
it's really difficult

to even see the sculpting
in the character.

He just kind of looks like--
It was sort of a bad burn job.

I'm feeling very similar
to that.

Yesterday when I saw you,
I thought,

I was actually really impressed

with the way
you were sculpting this.

And going just red

you actually cancelled all those
great detail you had done.

Those eyes at the top
of the head,

I wish you had done something
that hold the real eyes

- in the same world.
- Right.

Something sort of
tying them together.

I'm curious, who was
responsible for what aspect?

I sculpted the face.

Um, CC sculpted the arms
and chest area.

And I did a majority
of the paint job.

The thing for me that I think
you have to be very careful with

is when you bake
in an expression.

If you're gonna bake it in,

that's all that they're
gonna be able to emote

but I'd like to think that
the actor underneath it

is gonna have the opportunity
to express themselves.

Okay. Please step back.

Let's talk to Roy and Rod.

Tell us a bit
about your concept.

Nobody knows
where this guy's from.

He just hangs around Mos Eisley

and cons other visitors
out of their possessions.

He's so small that he has
to have this contraption

to get around,
and he's too cheap to take--

buy one that floats,

so he's got the older model
that has the legs with it.

Got you.

The sheer concept
is just unbelievable.

- Thank you.
- So I'm extremely impressed.

I'm thinking of the detail,
just the dirty feet.

All those little detail,

add it on top of the humungous
amount of work is unbelievable.

Thank you.

I'm so impressed with the fact

that you pulled this off in such
a short period of time.

So which of the two of you did
what on this project?

Is this--
this defines ambitious.

Roy is an amazing fabricator.

And this vehicle is his.

Rod, your deal was primarily
the humanoid...

- Yes.
- Thingamajig?

Rod took it
and sculpted the face

and then me and him together
worked on the body.

When you take on
this much work, time and again,

we've seen that can be
the key to failure.

But it wasn't,
so that speaks volumes

about your time
management skills.

Well done.

You did everything well,
even the hair work.

Your paint job is beautiful.
Your edges are great.

It's an amazing creature

and I think you just did
a wonderful job.

- Thank you.
- Thank you.

You can both step back.

Tommy and Joe, step forward.

There's no way in hell
I'm going down with this.

Joe led this project.

If I don't explain
what I'm responsible for

and why this piece failed
and apologize,

I might be going home.

Can I just say something?

I'm gonna try to do this

in the most tasteful way
possible.

I can honestly say
it's my fault.

I really wish I would have
taken lead on this.

I wish I would have painted it.

I'm ashamed to bring this
before you guys.

We had a lot of problems
working together.

I felt that the only way for us
to accomplish anything

was for one of us
to take point,

and halfway through
the second day apparently,

the only way
that was going to happen

is if I took direction,

I mean, I'm not throwing him
under the bus by any means.

Kind of, you are.
Actually, yes.

- I'm not trying to.
- Yeah.

It just breaks my heart to
have to stand here like this

for you guys.

Yeah.
Are you finished?

Can we get to talking
about the makeup?

- Yeah.
- It's singularly unexceptional.

I'm drawn to the crudeness
of the color application,

and so many of the mistakes
are completely indefensible.

The color scheme looks like
layer, after layer, after layer

of one color resulting
in a stunning shade of mud.

When you're doing
the color application,

tell me exactly
who's doing what

and how that happened?

I actually painted
the entire head.

What color scheme
were you going for?

Like what was the intent?

I was gonna do something like
a turtle on top.

Wow! I never would
have picked that one.

It looks like a squished frog

- that you put an easter hat on.
- Okay.

One of the problems is
there's no focal point.

There's no place that I think
I want to look.

Quite frankly,
I just wanna look away

because it's so offensive
aesthetically.

And what happened to her feet?

We ran out of time.

You guys do realize that,

if and when you make it
into the profession,

you're going to have
to work with people

that you do not like.
It's a fact.

- No. Absolutely.
- It happens.

And so this is a mark
of professionalism,

your ability to overcome
that obstacle

and get on with it, because
it's extremely important.

I was trying to accomplish
what he originally envisioned

or what he originally drew.

I couldn't do a single thing
without you touching it

or telling me how wrong
I was doing it,

because apparently
you know everything.

Somebody back me up here.

I'm sorry.

All right, the judges have
heard what you have to say.

Please head back
to the makeup room

while they make
their decisions.

- Thank you.
- Thank you.

Thank you.

That last one was torturous.

All right, guys.

So why don't we start
with the top looks?

What are your thoughts
on Rod and Roy?

- I loved it.
- Extremely ambitious.

The amount
that they accomplished,

in their first week too,

that makes it even
more exceptional.

Kind of telling too
how well they got on.

You couldn't have done it
any other way.

Everything they did was
absolutely well thought-out.

Rod did the makeup part
and what,

Roy did the fabrication, right?

Mm-hmm.

Each of those fingers
had a different,

weird little gnarled claw.

There's a story in each one.

They thought of everything.

Okay, let's move on
to Laura and Sarah.

I'm extremely pleased with
what they did in this challenge.

I think it fits the Star Wars
aspect of our challenge.

A lot of it has to do
with the cloak and the hood.

That felt like it fit
into the old Star Wars.

I love the organic sculpting
in the head,

as we've not really seen
anything like that.

- It was beautiful.
- Beautifully done.

So the question, I think,
we have to ask ourselves now

is do we go
with Sarah and Laura's

really beautifully executed
makeup,

which may be the cleanest
we've ever seen on the show?

Or do we award Rod and Roy
for this really incredibly

ambitious concept that in the
end they executed brilliantly?

All right, so let's move on
to the bottom looks.

Why don't we start
with Joe and Tommy?

- You talk about a hot mess...
- Yeah, right?

That was a hot mess.

Both emotionally
and creatively.

The sculpting was really
creative and interesting.

It disappeared
into the paint job.

If they would have
painted it differently

it would have been a completely
different creature.

Yeah.

Equally loathsome,

the approach that Tommy took
to the Q and A.

Yes.

It felt very groveling
and desperate.

- It's a lose-lose situation.
- It is.

Because that's his only
opportunity to save face.

All right.
Let's talk about CC and Derek.

This one for me was
a disaster of boredom

and a disastrous creature

that looked like it
could be used for anything.

There is no personality
whatsoever.

What they've done with the paint
completely killed it.

I was so surprised to see that
how much you can kill

a sculpture
with a bad paint job.

I thought this thing was,
at best, uninspired.

If you're going to make him
a saxophone player,

I would have loved for them

to have worked on the saxophone
a little bit as a prop

and made it something
that we can believe

belongs in the cantina.

His eyes were lighting up

but his actual eyes
were like dead holes.

They had no direction.

All right, judges,
have you made your decisions?

Yeah, I think we're there.

Okay.
Let's bring them back out.

All of us are backstage
and Tommy looks tormented.

I can't imagine the pressure
building on him and Joe.

I'm sitting backstage
and the door flies open

and Joe's just gone.

- What happened?
- Joe left.

I'm so confused right now.
Where's Joey?

Did he just run like
out of the building?

If he just like
decided to take off,

then I don't understand
what that means.

What happens if Joe doesn't
come back?

I'm sitting backstage
and the door flies open

and Joe's gone.

It's gotta feel horrendous to
have judges just rip into you.

What happens
if Joe doesn't come back?

As you've noticed Joe
is not here with us on stage.

He has chosen to leave the set

and has therefore been
disqualified

from the competition.

I really don't know
what's going to happen now.

Does that affect the judging?

If he wasn't
the one going home anyways

is somebody still gonna
kicked off?

Derek, CC, Tommy...

You are all safe.

No one is going
to be eliminated tonight.

You can head back
to the makeup room.

Thank you.

He's disqualified.
One more week, one more time.

- You're safe.
- One more time.

Yay!

I'm just so happy
that this challenge is over

and I can finally show
that I can do something.

All right, Glenn, tell us
about the top looks.

Our top two makeups tonight
were Rod and Roy.

You were incredibly ambitious

and that huge risk
really paid off.

Laura and Sarah, we felt
that your character captured

the quintessence
of the Star Wars cantina scene.

Which team came out on top?

The top team tonight is...

Rod and Roy.

This was a really tough
decision tonight.

But we felt that
in this challenge,

had to reward the amount
of creativity

that went into that concept.

It's something
we have not seen yet.

- Rod and Roy, great job.
- Thank you.

As the winners
of this challenge,

your character will be featured

on the official
Star Wars website

in its original
design and recreated

in the style of The Clone Wars.

I can't believe
that the piece that we made

is gonna be part
of the Star Wars universe.

But as you know,
we can only have one winner.

Glenn?

The winner tonight is...

Rod.

Thanks.

You both did an incredible job.

But ultimately it came down
to the makeup aspect

of this creation which we felt
was a bit more you, Rod.

- Rod, congratulations.
- Thank you very much.

The four of you can head back
to the makeup room.

- Thank you.
- Thank you.

Great job.

- Who won?
- Rod.

- Here's the winner.
- Good job.

Yay.

Winning the spotlight challenge

feels great to have my work
acknowledged in that way.

You guys are gonna be
on the Star Wars website.

Isn't that amazing?

To have the judges recognize
how much work went into it

and for them to sincerely
congratulate us--

What a wonderful thing.

Whoo!