All language subtitles for Face Off - 5x01 - Going For Gold.HDTV.CRiMSON.en

Face Off is back
for a jaw-dropping new season.

The search for the next
great name in movie magic

takes a shocking twist.

Veterans versus the newcomers.

Eight talented newcomers
will battle

eight hungry veterans
back for redemption...

I just don't want to make
the newbs feel bad.

It's war between them and us.

...in a competition
unlike any other.

They'll face
breathtaking obstacles...

- Oh, my God.
- I'm freaking out.

...unbelievable deadlines...

It's a quick connect, like--
Fuck!

Yeah, well, it's not working.

This is harder than I thought.

...and the most heart-stopping
challenges

in Face Off history.

Oh, my God.

Get the fuck out.

Along the way,
they'll come face to face

with legends.

What?

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 Beetlejuice,

The Hunger Games Catching Fire,

and The Amazing Spiderman...

This is an immaculate makeup.

Glenn Hetrick,
cutting-edge makeup artist

on CSI NY,

The Hunger Games Catching Fire,

and custom designer
for Lady Gaga...

I dig it a lot.

And Neville Page,

creature and concept designer
on Avatar,

Prometheus,
and Star Trek Into Darkness.

That's fantastic.

In the end, only one will win

a VIP trip from Kryolan
Professional Make-Up

to one of their 85
international locations,

a 2013 Fiat 500C,

and $100,000.

Who will be the next great name
in movie magic?

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

Face Off is back,

but the game has changed.

I invited our new contestants
to a masquerade ball

here at the Park Plaza

to tell them about this season's
big twist.

Whoo!

I am Adolfo.

I was born and raised
in Puerto Rico.

I like to make everything
look glamorous

and shiny and sparkly.

I've been working my ass off
to be here,

and I just want to win this.

My name is Rick,
and I'm 38 years old.

I'm self-taught.

After high school,
I've been making a living

doing effects.

I'm in this competition
to prove

I have earned my place
in this field.

Rick.
Nice to meet you.

Nice to meet you.

My name's Sam.

I attended
the Tom Savini School,

where I graduated in 2012.

I'd say a few
of my strong points are

sculpting, mold making,
and I've got a lot of heart.

So don't count me out.

- Hi.
- Hey, what's up? Sam.

Mwah! Adolfo.

My name is Steve Tolin.

I go by Tolin.

I own and operate

a specialized design
and fabrication shop.

I live in Pittsburgh
with my wife

and my two beautiful girls.

Winning Face Off could really
set me and my family up

in a way that I would never be
able to do on my own.

- Adolfo.
- Eddie.

- Eddie.
- Nice to meet you.

I'm currently a student

at Savannah College
of Art and Design,

studying CG and visual effects.

My strengths right now
are my concept development

and design, and I think I have

a great shot at winning.

My name is Laney,

and I moved to LA
about four years ago.

Right now, I'm just working
in this tiny little cubicle

in my garage, making messes.

For me, winning Face Off

could open a door for me

to start getting the jobs
that I really need.

- Hey.
- Hey, I'm Rick.

Hi, Rick. Scott.

My name is Scott,

and I started Scream Team
back in 1996.

And I sell prosthetics
all over the world.

Champagne for Scott.

WinningFace Off
would be a dream

because customers of mine
would finally put a face

with my business.

- Hi.
- Hey, how are you?

I'm Lyma.
I'm originally from Mexico.

Merci.

I practiced as a dentist.

Then I started doing teeth
for Halloween, vampires.

Then, eventually,
I became a makeup artist.

I have
a one-year-old daughter,

and she's my whole life.

So I would like
to win this for her.

- Here we go.
- Uh-oh.

Hello.

Here comes McKenzie.

Oh, my gosh.

- Whoo!
- Hey, guys.

- Hello.
- Welcome to Face Off.

- Thank you.
- Thank you.

I'm stunned.

She looks even prettier
in person,

and this is Face Off.

It's about to begin.

This is the legendary
Park Plaza hotel.

Through the years, it's served
as a filming location

for popular movies

and been a hot spot
for Hollywood's elite.

Now, I'm sure you've noticed
that there are only

eight of you here.

Well, let's meet
the rest of the cast.

Guys, come on out.

- Oh, yeah.
- No way.

The other cast members
are people

that have been on Face Off.

I am so scared.

That's right.

This season, we've got veterans

versus newcomers.

Ohh.

That's... great.

We have RJ, Tate,

Miranda, Frank, Laura, Alana...

Ooh, girl.

Eric, and Roy.

Well, why don't you
go stand now

with your fellow competitors?

- Oh.
- Hello.

- Hi.
- Welcome.

The old-timers walk in,

and I'm actually
not too nervous.

I'm confident in my abilities,

and I think I'm gonna be

the next Face Off champion.

Now, you all know

that professional
movie makeup artists

create unforgettable characters

through their collaboration
with other creative departments.

But nowhere is this more true

than with the symbiotic union
of makeup and wardrobe.

And I have a few special guests
here with me tonight

who are perfect examples

of the extraordinary way
that costumes

can completely transform
a character.

They are the stars
of SyFy's new series

Heroes of Cosplay,

which premieres tonight
after Face Off.

Thank you so much
for being here.

Thank you for having us.

So, Yaya,

you obviously know
what it takes

to make a head-to-toe
finished look,

but how important
is makeup to you?

Makeup is an intricate part
of costuming

because, in the end,
it is about the face.

If the makeup is well done,

it can transform a costume

into a character.

That's a great way to put it.

Thank you for being here.

Thank you.

So for your first
foundation challenge,

you'll be creating
an original character

inspired by one
of these costumed partygoers.

Now, this is your chance
to show off who you are

as an artist.

Today's winner
will receive immunity

and cannot be eliminated
this week.

Winning immunity
straight out of the gate,

that would be
a big stress relief.

Before you make
your selections,

we gotta have a judge.

She's a screenwriter,
a producer,

and the director
of Red Riding Hood,

Lords of Dogtown, and Thirteen.

She's also the most
commercially successful

female director of all time,

with the epic
vampire film Twilight.

Please welcome
Catherine Hardwicke.

Oh, my God.

Catherine, thank you so much
for being here.

Thank you for having me.
It's super exciting.

Catherine Hardwicke
is such a great screenwriter

and director,
so I am blown away.

Your films have featured

some incredibly
iconic characters.

How important is that union
of makeup and wardrobe?

For me, it's important
because that's what helps

an actor really understand
who they're gonna be,

and that helps them
launch right into the film.

So I'm just interested to see
what you guys are gonna do.

All right, now,
you'll have only your kits

and a few tables of supplies
to work with.

And you've got two hours
to complete your makeups.

Good luck, guys,
because your time starts...

now.

Ooh, girl.

Taking you.

I would like you, please.

- Cool.
- You and me. I'm Rick.

How you doing?

Have a seat.

Have you ever had
a prosthetic on before?

- Yeah.
- My name is Eric.

Out of all the veterans
coming back this season,

I'm the only contestant
from season four.

I earned my way back
by winning the web series

Face Off Redemption.

It's a chance not everybody gets
to come back

and do this again,
and this time,

I am a stronger artist.

I know what I want,
and I'm 100% sure

that I know how to get there.

I'm thankful to come back
and show

what I've learned
over the year.

My name's Alana Rose,

and I was on Face Off
season three.

When I got eliminated,
I walked out of that stage,

and I looked around,
and I just thought,

"This isn't over."

I never want to lose again.

I want to be
the winner of Face Off.

My character is gonna represent
a strong warrior

who's kicking ass
and taking names.

I picked his wardrobe
because he's jungle-oriented

and he had
a lot of skin exposed.

He also has this big cowl piece

that drapes across the back.

So I'm going with a tribal
hunter paint scheme,

out for the hunt.

He'll look pretty old
and pretty scraggly, I hope.

I'm RJ, and I was a finalist

on season two of Face Off.

To get that far and not win

was a little heartbreaking.

Last time, I was doing it
for my dad.

This time,
I'm doing it for my mom.

If I can win,
then I can help her retire.

I picked this soldier,
so I'm making him

this old, crusty general.

I chose to go
with a matador character.

I'm turning him into the bull
that he's been fighting.

I'm Tate.
I'm from season one, finalist.

It was tough not winning,

but since I was on the show,

I've learned
a ridiculous amount,

and I think I can actually make
a run at that title.

I chose this model because

she had this amazing locket
that gave me an idea

about her character.

I'm doing a princess
who was stolen

from her wedding by a sorcerer.

The sorcerer then put
a curse on her

and took her heart out

and replaced it
with this poison locket.

My name is Roy.

I was on season three
of Face Off,

and I made it
almost to the finale.

I'm really excited for this
chance to come back

'cause I get to make
some really cool stuff again.

And I still got a few tricks
up my sleeve.

My model has this uniform on

that looks like
it's a caricature.

So I'm going
to accentuate his face

and then paint this same kind
of pattern into it

so it looks like he stepped
out of a comic book.

Guys, you have one hour left.

This character is

a phantom of the opera-like
thing.

He was involved
in this very bad accident,

which caused his face
to be all gruesome.

I'm Miranda, and I was
on season two ofFace Off.

I was really lacking
mainly in self-confidence

the first time around,

but I know
that I am a good artist,

and I came back to show
what I felt I was capable of.

I picked a matador
from some different time.

So I decided to do a matador
from another planet.

I'm doing a version

of a very old
and dead Cleopatra.

My name is Frank.
I was on season one.

And I was eliminated too soon.

My character's a sorceress.

She's at a big party,

and she sees a guy
that she likes

making out with another girl.

So as the rage builds,

all the heat's forming
into her hand,

and she's gonna shoot
a fireball at him.

Pow!

My dad was a big influence
for my career,

and he was--
he was a big cheerleader.

When I watched
how much of an ass

I made of myself
on the first season,

I know I let him down.

My dad passed away
almost a year ago.

So when this opportunity
came back up,

I said, "I have to do it
for dad."

I hope I can stick around
long enough this time.

My name is Laura.

I was a finalist
on season three.

Since Face Off,
I feel like I've grown

by leaps and bounds.

The character sort of looks
like a queen,

so I thought I'd make her
like a demon queen

of some sort.

I am definitely not here
to play it safe.

I am here to show new things,

but also some old things
with a new twist.

That is time.
Brushes down.

So time's up,
I look at my character,

and I'm really happy
with what I've put together.

Tell us about your creation
today.

She had this amazing locket,

and that gave me the idea
of evil sorcerer

was in love with her,
and he took her heart

and replaced it
with a poison locket.

Yes, and I like the hair.

I like what you did
with the hair,

and I like the brows.

They're just so haunting.

- Mm-hmm.
- Very interesting.

That's great.

My model had on--
has on this costume

that looks like a caricature.

- Uh-huh.
- And so I thought,

let's have him become
like a living caricature,

like he's just been pulled
out of the pages.

I love it.

It's kind of commedia dell'arte.

I think it's great how you
really carried it through.

Thank you very much.

Well, she had a costume on

that reminded me very much
of royalty,

but since it was so tattered,
I was like,

well, maybe she's
from a demon underworld.

I think you made a great choice

doing so much airbrush work

because it looks
quite finished and polished

and quite beautiful,

and the colors are stunning.

I found this Egyptian outfit,

and then I applied
the forehead and the nose.

I think it brings
everything together.

I like your choice to make her
very creepy and old.

I was wondering
if you had thought of trying

to carry that
through to her hands.

That might have been nice
'cause you've made

so many sculptural shapes.

This is a hindu royal bride.

It's very simple
and very elegant,

and it really flows
with the costume.

This is Princess Natala,

and it is
her birthday party tonight.

I always like to keep
that girly feel

to my makeups.

I love the concept.

I'm interested in the design
of these ears

coming out of this
Marie Antoinette hairstyle.

I think that's
a very cool idea,

and I don't think
I've seen that before.

This is my guy.
He's a tribal warrior.

I chose really bold stripes
and natural colors

and then a harsh black
to really give it that pop.

I think it's interesting.

To me, it's a little...

simplistic,
I would maybe even say.

- Okay.
- You know, I guess I,

you know, wanted to just
see it go further.

I can see what
Ms. Hardwicke is saying.

Uh, and it-- it's a little tough
to hear that criticism.

I'm looking around,

and there are

some really good makeups

in this room.

Some of these things
are amazing.

That's a big realization for me

that I really need to improve,

'cause this competition

is gonna be really tough.

Catherine, these guys made

quite a cast
of characters today.

Who created your top looks?

Everybody here did a great job,

but I do think
that the veterans

kind of kicked some butt today.

One of my top looks
was created by Tate.

He really did
an overall complete look,

top to bottom.

And I really liked
Roy's character.

It just turned into a sketch

and felt very immediate
and fresh

and really interesting.

And then, Laura,

yours was exquisite.

The colors were just dreamy
and gorgeous,

and the whole character
really came together.

Beautiful job.

All right, Catherine,
who is the winner

of today's challenge?

The winner is...

Coming up...

- Is that gonna be okay?
- I'm sweating bullets.

The whole piece
could be ruined.

- Oh, God.
- Is that cracked?

I'm running out of time, and I
don't know what's gonna happen.

I'm truly impressed.

All right, Catherine,

who is the winner
of today's challenge?

The winner is...

Tate.

Wow.

I loved your makeup

because it was
an overall powerful concept.

She was scary,
the way she stared at us,

and the eyes and the brow
that you created--

It was beautiful.

I appreciate that.
Thank you very much.

Tate, congratulations.

As the winner
of this foundation challenge,

you have won immunity

and cannot be eliminated.

Fantastic.

Winning this first
foundation challenge--

it's awesome.

It puts me
on the top of the pack,

and that's where
I hope I'm gonna stay.

All right, guys,
it is time to check out

your new digs
and get some rest.

I have big things
in store for you tomorrow.

See you soon.

- Bye.
- Thank you.

Bye-bye, thank you.

- Oh, my God.
- Where's Edward Scissorhands?

- Oh, my God.
- Wow.

From the second
I look at this house,

I'm completely blown away.

I'm sorry.
I'm sorry.

The downstairs alone
is amazing.

We haven't even seen
our bedrooms yet.

Oh, wow.

- Yay!
- Gentlemen.

Oh.

All eight of us new people
are in one room.

Whoo!

I haven't slept in a bunk bed

for a long time.

What? You guys have, like, cool p--

Hey, look, it's my makeup.

We actually have photos

of some of the works
that the veterans did

in our room.

It's a little mind teaser.

Face Off!

- Ooh, it's foggy.
- Ooh.

How lovely.

The Academy Awards.

Yeah, it is the Oscar stage.

I walk into the Dolby Theatre.

This is a dream come true.

It's just a gorgeous theater.

You know, there's this
billowing of fog

all over the stage,

and we're like, okay,

something's gonna happen.

McKenzie actually rises
out of the floor.

Wow, what an awesome entrance.

Hey, guys.

Why don't you
come join me onstage?

- Yes, please.
- Wow.

Awesome.

Welcome to the iconic
Dolby Theatre,

home of the Academy Awards.

I've brought you here today
because, with any luck,

this will be the beginning
of your own path

to Oscar gold.

For your first
spotlight challenge,

we're delving into the world

of hyper-stylized
fantasy films.

Now, we've seen
some incredible creations

in everything
from The Chronicles Of Narnia,

Pan's Labyrinth, even Avatar.

These Oscar-winning
fantasy epics

all evoke an emotional response

with distinct
and stunning visuals.

So with that in mind,

your spotlight challenge
is to create

original fantasy characters

that would live in their own
hyper-stylized world.

I like this one.

Fantasy is right up my alley.

I'm very excited,

and I'm ready to get to it.

This will also be
a team challenge.

Veterans versus newcomers.

I'm very terrified of the vets,

but I'm also excited
to show them what we can do

and to see what my team can do.

I don't know them at all.

But I think we're gonna rise
to the occasion,

and we're gonna give the vets

a run for their money.

Okay, now, each team
will create

five original
fantasy characters.

- Wow.
- Wow.

All right.

They are...

Ogre, Pixie,

Faun, Troll,

and Witch.

Holy cow.

Gonna be great.

Now, I've brought
a special guest

to give you
some guidance today,

an Academy Award-winning
makeup artist

who has made his name
creating unforgettable looks

in films like
The Amazing Spiderman,

Lemony Snicket's A Series
Of Unfortunate Events,

and Indiana Jones
And The Kingdom

Of The Crystal Skull.

Please give a warm welcome
to Bill Corso.

Oh, my God!

Bill Corso inspired me
to do makeup,

so it's extremely
overwhelming for me.

I'm trying
to hold back my tears.

Hi, Bill. Thank you so much
for being here today.

Oh, my pleasure.
My pleasure.

Oh, my God.

So what does it take to create

an Oscar-worthy
fantasy makeup?

Collaboration
is very important.

When you see
Oscar-winning work,

it's because
everybody's been involved

to raise the bar
to the highest possible level.

How can they make sure
that their characters

all look like
they belong together?

It's very important
that you find

a cohesive quality,

whether it be
textural palettes,

whether it be some sort
of visual motif

that carries through.

There's nothing worse
in a movie

than when characters feel
like they belong

in different movies.

That was some great advice.

Thank you so much
for being here today.

- Oh, my pleasure.
- Thank you, Bill.

All right, why don't you guys
go check out the lab

and get started?

Aah!

Walking into the lab
for the first time

is absolutely amazing.

There is everything
you could possibly think

that you want to work with.

I've never been in a shop
this big before.

- It's like Christmas!
- I know.

I'm just so excited.

I just want to get
my hands dirty.

Walking through the lab

is really special for me.

It's like coming home.

Wigs and wigs
and wigs and wigs.

One of the first things
that we have to do

is choose our models
from the life casts.

Yeah, I think that we got
exactly what we want.

And then it's time
to start our designs.

Essentially, then,
what we've got is

Scott and Sam doing the witch.

Lyma's doing the pixie,
Laney and Rick doing the faun,

Adolfo doing the troll,
and you guys are doing

the ogre, okay?

And, Adolfo and Lyma,
you're comfortable

having the character
all to yourself, right?

I'm a little nervous
that me and Adolfo

are the only newcomers

working on a complete character
by ourselves.

It's just
a little overwhelming.

You've come up
with a general concept,

so we need to come up
with, like,

what our-- our--
our world is.

It is a big challenge
to take eight artists

who don't know one another,

um, to create five characters

who all feel like
they're from the same world.

Here's what I would propose,
is that all these characters

are a member of, like,
some kind of a council,

and that there's something
incorporated into their makeups,

you know, like a tattoo--

How about a sacred stone

embedded into the skin somehow,
with light behind it?

There you go.
I like that.

Our team concept
is each character

is gonna be a member
of a high council

of their species,

and each one is gonna have
a gemstone

on their chest.

It brings them into a family.

- Perfect.
- Yeah.

Of the characters,
the troll is the smallest.

- Is that correct?
- That's the shortest guy.

I came up with the concept

that the troll,
he's gonna be living

and working in the cave,

and he collect the stones
that goes

in the chests
of the characters.

The ogre is obviously
the bigger guy.

I think we get big
in the shoulders,

under the costume, though,

so we don't have to worry
about edges.

Our concept for the ogre

is kind of like a primate,

and he's going to walk

on these big, gnarly arms.

I was thinking
it would be cool if the mouth

was in the neck

so that you can open
and close the mouth...

- That would be really nice.
- ...with your head.

That would be great.

- You know.
- That would be great.

Both of you
are designing the ogre.

I'm working on the troll.

There's a lot
of powerhouse artists

in this group, so right away,

people are opening
their sketchbooks.

They have ideas
right off the bat.

I just had a great idea.

Make the witch without any eyes

and have her eyes
be in the eyes

in all the other creatures.

Oh, that's amazing.

So basically,
all of the creatures

are the witch's minions.

- Yes.
- Yeah.

I love it.
That's awesome.

- Done. Done.
- Nice.

I'll block out the cowl,

just so that we can start
playing with it.

Do you guys want
to start blocking out

- the hands and the feet?
- Yeah, sure.

Okay, cool.
Well, let's go.

We've only got
five hours today,

so it's very important for us

to bust out
some sculpts real quick.

You want to do the foot,
and I'll do the hand?

Yeah.
RJ and Frank and I

sort of spearhead
the ogre character.

RJ and Frank have
two different designs

for the ogre,

so we sort of integrate
the two.

So he has this little
kind of pinhead

and then these big arms
and big feet.

I got the--
the cowl formed.

I'm starting on the chest

so I can make sure
the muscles work together.

My cave trolls steal babies

and swallow them whole.

And that culminates
into these little

placenta-like baby sacs.

You're an animal, Tate.
You're an animal.

That's what my wife tells me.

_

Laney and I decide
that we're gonna go

with a lot of pieces

in order to pull
this character off--

a face sculpt, ears, horns,

chest piece,

as well as
hand appliances and feet.

So I immediately start
with the face.

How big are the horns gonna be?

6-8 inches,

starting at about
a 2-inch diameter.

If we're going to start
sculpting today,

then we're all gonna need
the stone today.

So I sculpt very quickly
the gemstone

that each one is gonna have
on their chest.

So I'm gonna vacuform them now

so you guys can incorporate them
into the sculpts.

Awesome, okay.
Thank you, sweetheart.

I don't have time
to mold five pieces.

So I'm gonna use the vacuform
to create copies

for each person to use
in their makeups.

What do you think
about the idea

of making his hand
really elongated?

Yeah, that would be
really cool.

For the ogre,
I'm doing the head.

Eddie's gonna do the arm,
and we're trying

to bang these sculptures out
as fast as we can.

I'm working on the faun.

A faun is a creature that is

half goat, half human.

He is a woodland creature,

so his horns look
more like tree branches

so he blends in,
so kind of like camouflage.

It's difficult
looking across the room

at the veterans
and the wall of clay going up.

They are going big
right out of the gate.

Looking across,

that's a lot
of scale over there.

Everything's really big
on that side.

I'm concerned maybe we're
not going big enough,

and that's--
that's a morale sapper.

This could be
what sinks our ship.

It's day one of our
fantasy creature challenge,

and it's newcomers versus vets.

The vets are going big
right out of the gate,

and we are going for beautiful.

So we'll just have to see
if the judges like

the direction we're taking.

_

_

Sweet.

Jeez, how are you gonna
mold that thing?

Very carefully.

Roy's got this enormous,
complicated sculpture.

Because of that,
during the molding process,

there's always a risk

because there's more things
that can go wrong.

Just gotta get the look right.

Yeah.

We both looked at this
and said this could be

either, like,
rusted iron or--

- I was thinking wood or stone.

Well, it could be wood too.
We love it.

Anyway, we'll mold it for you.

So that gives you
the time today

to start working on the basic
shape of your head.

- This one with water clay too.
- Yeah.

Lyma has got a piece
ready to mold.

But she has a lot of pieces

and is working by herself
just like Adolfo.

So Scott and I
are gonna be molding.

Once you are perfectly happy
with your sculpture,

then it's time to start making
your mold.

We use a plaster-type product.

When that's fully cured,

that's where you put
your foam latex

or your silicone or whatever

that you want to make
your prosthetic out of.

Hey, are they making
a mold over there?

Yeah. They don't play around.

That's time, everybody!

Let's go home!

At the end of the first day,
I'm really surprised

'cause the new guys,
they've already got

a couple molds completed

and some pieces ready to mold

for first thing in the morning.

It looks like they're
in better shape

than we are at the moment.

So I think us vets
should be very worried.

Whoo!

All right.

It's day two, and we've got
ten hours in the lab.

We have to finish
all of our sculptures today,

we've got to get
all of our molds made,

and we've got to open them up.

We've got to clean
all the clay out.

There's a lot of stuff
that has to be done.

I'm just getting a basic shape.

Then I'm gonna start pulling it
tight over the skin.

Sam and I have this concept

that the witch is ancient.

Her clothes and her body
are fusing together.

But we want to show
both beauty and age,

which is gonna be
a heck of a challenge.

I think we're doing awesome.

I think we're a good team.

I'd say her eyebrows
are gonna be

popping out right there.

- You think?
- Possibly, yeah.

Miranda and I
are doing the pixie,

and we want her to be
sexy and creepy,

have multiple sets of ears

and plates sculpted
into her head.

We need to make sure
that this cowl is flawless,

our face is flawless
and molded today.

I got a lot to do,

so I'm just gonna plow
forward on this.

Eric and I are really tackling

a lot of molds today.

My face, my cowl, Laura's cowl,

and then whatever else
people need help with.

Hey, guys.

We're here
for our first walkthrough.

Hi, everybody.

Hey.

How are you?

Mr. Westmore

is a very recognized
makeup artist.

It's so wonderful
to have him here,

and I'm looking forward
to hear what he has to say.

This is a pixie.

I'm working on having her face

very humanoid.

Now, in-- in looking
at your sculpture,

I'm seeing all
the little texture

you're getting there.

I'm afraid
you're gonna lose that.

I would dig a little deeper
and be bold with it.

We're dealing in fantasy,
not subtle fantasy.

- Okay.
- So you want to bring it out.

- Yeah.
- All right.

- Thank you.
- Good luck.

We are working
on the faun character.

We decided
not to go with texture

'cause we're gonna be doing
fur transfer.

Now, important
with the fur--

on your edges of it,

if you can lay a little bit
around the edge

so it doesn't look
like a glove...

- Mm-hmm.
- Or it doesn't look like...

- There's a blend to it.
- A shawl or something.

- Oh, yeah.
- Maybe trim it a little bit

so it blends into the arm.

Doesn't look like a hair glove.

- Yeah.
- Yeah.

I'm working on the troll.

He lives in a cave.
He works in the cave.

He only goes out at night

to meet with the other people.

It's awfully human
back in here.

I think you ought to beef
your neck up a little bit

to give this-- the whole thing
more power.

- Mm-hmm.
- All right.

- Yeah.
- Thank you so much.

- Looks nice.
- Mr. Westmore is right.

So I'm gonna do the changes.

But this is hard for me
because I'm almost done

with the sculpture,
so the little time

that I have to mold
is even less now.

We are collectively
doing the witch,

which is the high priestess
of this entire council.

As far as the back
of the neck goes,

have you taken it down
far enough that the costume--

We're probably gonna take it
down a little more, yeah.

Yeah, make sure you get it
below the costume line.

Yeah.

We're gonna extend the arms.

The actor's arms
will come down to the elbows

so that we can have, like,

- kind of a gorilla stance.
- Yeah.

And the mouth opening
that we created for the face

is below the neck
so that the actor is able to--

- Oh, I was gonna say--
- Oh, okay.

So it will be able to move.

I would be concerned
with the mouth

if you didn't do that.

As opposed to just
hanging there--

- Absolutely.
- Yeah.

- All right.
- Good luck.

Thank you.
A real pleasure.

- I was given the witch.
- Okay.

And it's got a fusion

of a lot of different elements.

What is your purpose
with the back?

Are these supposed
to be fingers?

Yes.

Spikes have been done
many times.

Yeah.

Doing fingers
is really different.

I think that would impress
the judges tremendously.

The faun is actually
a wood creature.

- Okay.
- So it hides in the woods.

And so, instead of doing,
like, you know,

antlers, I decided to do, like,

like branches growing out.

Yep, instead
of symmetrical horns.

You may have to put
something down there

to keep them from bouncing.

Ours is the pixie,

and basically,
she wanders through the woods

when she's hunting
for lost stragglers

that she can take into her lair

and devour their souls.

We want it to look
almost like a mohawk.

If you're doing a mohawk,
poking the dreads in

might not be a bad idea,
'cause otherwise,

you're gonna glue it on,
you're gonna hate it,

and then you're gonna be
spending time

- trying to work the edge out.
- Thank you.

- Good luck.
- Thank you.

- Thank you.
- Thank you.

Yay.

All right, guys,
it's all looking great.

Good luck tomorrow.

Thank you,
Westmore and Westmore.

Bye.

Oh, hey.

Good God.

Got it?

We're all
in the mold room at once.

It's just madness,
sheer madness.

I'm climbing
on top of the table.

I'm molding my piece,
helping Adolfo.

I'm reaching over molds.

It's pretty intense.

Oh, my gosh.

_

_

I mean, that's pretty good.

- I would say get the--
- Yeah.

The flange more.

Laura has this back piece
on her witch

that has these fingers
coming out of it.

Miranda gets the mold started,

but she gets to the very edge
of the fingers...

_

_

Our splash coat is hardening
and cracking apart.

No, no, no, don't pull it off.

Is that gonna be okay?

This is a very important piece.

It's very important
to the aesthetic of the witch,

and I don't want
to let Laura down.

Do you want to fix this?

Do you feel more comfortable
doing that?

Yeah.
I'm keeping a straight face,

but inside, I'm stressing out.

It's cracking,
and I'm sweating bullets.

I have to figure out
how to fix this now,

or else our whole piece
could be ruined.

It's the second day of our
fantasy character challenge.

Miranda's molding Laura's
back piece for the witch,

the most powerful being
on this particular world.

_

And our hemp
starts falling apart.

_

_

_

I just say screw it,
it's now or never,

and I take that whole piece
of hemp,

and I just lay it
over the part that's cracking.

Here, we'll do this.

I'm scared it's gonna take away
some of the detail,

but it's not as bad as I thought
it was gonna be,

and I'm so happy
that it's worked out,

'cause I was very scared.

Anytime you have a mold
that has

that size of a head
with all these

little smaller pieces
going out,

there's a chance
of it breaking.

I'm gonna hope for the best,
and I hope that

it doesn't break
when I open it.

Oh, my God.

Thank God.
It actually worked.

That's a miracle.

Roy's just awesome.

_

_

I'm getting a little nervous.

It's time crunch,
and I'm pretty sure

my mold is ready to be opened.

Oh, God.

My mold is just--

Is that cracked?

This piece is cracked for sure.

I mean, this comes
all the way down through here.

That's it.
It's done.

I don't want to go home.
I don't want to be,

like, the one leaving
the competition this soon.

But this is just going down.

Oh, God.

Yeah, I would--
I would not touch this

and deal with this
in the morning.

I have two options.

I need to either fix it

or just not use it,
and I don't want

to sacrifice the look
of the character

just because the mold cracked.

So I decide
to just reinforce it

and just wait overnight
to run the poly foam.

Here, can I see this thing
on you, Eddie?

I'm really excited
about the way

Eddie and I's casts came out.

I think that there's
a really good chance

of being in the top looks.

_

Yeah, it fits you great, man.

We certainly have
one of the strongest pieces,

and I think it's gonna really
fit into this council.

- That's great.
- Yeah.

- What's time?
- Five minutes!

Whoop.

That's time, guys!

- Whew.
- By now, I'm just thinking

there's so many things
that are going wrong,

it's gonna take a lot of time
from my application day.

It's just stressful.
It's just disappointing.

Application day,
we have four hours to apply

and one hour at last looks.

Wow, this is a disaster.

I look at my foam piece,
and I notice

the cowl edges are
just all sorts of busted up.

So I start trying
to patch it up,

and it's definitely taking time
out of painting,

and that's making me
a little anxious.

A lot anxious.

Hello, hello.

- Good to see you.
- You too.

It's really nice
to meet you, darling.

- Nice to meet you too!
- I want to hug you.

First thing I do is just run

straight to the molding room
and get my piece

because I have to run
in poly foam.

I'm running out of time,

and I don't know
what's gonna happen.

My crew,
how's everybody feeling?

Nobody's answering.

That looks terrible.

It does right now,
but it won't when it's dried

and it's painted,
I promise you.

All right, I got this.

That looks awesome, man.

Application day is going great.

Eddie begins painting the arms,

and we go for some very bold
color choices.

If you could hold it up
for a second, that'd be great.

- Here you go.
- Oh, that looks great.

- That's awesome.
- Ahh, okay.

Cool.

Keep your eyes closed for me.

This is--
might be a problem, though,

how thin it is
around her mouth.

It's crinkling.

Our face has a bubble,

and there is going to be
a gigantic edge on her lip

if we don't do something
about this now.

Let's just rip it.

_

_

I literally rip the mouth off.

It's a scary thing.

I've never done this
to a prosthetic before.

You're gonna have to bevel it
with scissors.

You're gonna have to re-smooth
all that down.

I'm getting nervous.

She's like,
"Fear not, my friend.

We have this."

Two hours pass,

and finally it's time
to open the mold.

Come on, baby.

I'm very concerned
because it's just stuck.

It's just not working.

So I'm looking around--

Hey, guys,
can I have some help?

Eddie and RJ come back
and start helping out.

Damn.

There it goes.

We got it.

Awesome.

Cool.

How's it looking?

It's all broken.

It's broken here and here,

and it's all ripped.

Motherfucker.

I'm like, this is
not happening to me.

I'm just gonna fix it
as much as I can.

I should just airbrush it.

No, it's much faster this way.

I promise you.

You know, we have
two completely different

painting techniques.

He wants me to brush
a lot of things

that I'd be more comfortable
airbrushing.

Why don't we get
one of those big guns

and just base her out
like that?

That's not even coverage.

So I just go in,
and I follow his lead,

and I'm just watching the time.

I'm thinking,

we really need
to bang this out.

What's that?

- Pros-aide.
- For what?

To cover the seal
so the color goes on

a little better.

That is not an issue right now.

Look at the rest of this.

I'm looking at it.
It's fine.

It's not even close to fine.

Oh, honey, please trust.

We still have to apply
the crystal,

the chest piece.

It's not looking good.

I feel like the clock
is just against me right now.

Time is passing so fast,
it's just ridiculous.

Ten minutes, gang.
Ten minutes left.

Make sure everyone's got
their gemstones.

Make sure everyone has theirs.

I finally have
my two pieces applied.

The edges are awful,
and there's no paint on him.

That's time, everybody.
Let's go!

I'm gonna have to, like,
paint all of it

on final looks,
and it's just one hour.

Coming up...

It's a beautiful, solid job.

Something went horribly wrong
with this character.

I find it hard
to get behind any decision

you made...

We get to last looks,
and at last looks, that's it.

You get one hour,

and that hour
goes by like that.

Oh, those eyes.

This is such a big gap
in between the eyes.

I need a brown
that's not orange.

Use this.

Everybody else is dressed

and half-painted,
and our model is naked.

Where's the black?

Maybe we put it
in the other box, Alana.

Dude, I've checked
all the boxes.

Just keep painting.

_

The crystal's not there.

Look hard, man.
That's vitally important.

Time's running out,

and I can't find the stone.

You're killing me.

I have to let go

and just continue
the paint job.

We got 15 minutes.

- Ugh.
- Uh...

I'm trying to make
this creature come to life,

but I'm running out of time,

and the creature's not
looking good at all.

- Time! That's it, guys!
- Whoo!

There's no chance in hell
that I'm winning this challenge.

I'm just praying
that somebody's...

is worse than mine.

Welcome to theFace Off
reveal stage.

Tonight, one of you
will be eliminated.

Let me introduce you
to our panel of judges.

First up, multi-talented
makeup effects artist

- Glenn Hetrick.
- Hey, guys, good to see you.

- Hello, Glenn.
- Hi, Glenn.

Our very own makeup legend

Ms. Ve Neill.

Welcome back for some of you,

and hello, our newbies.

- Hi.
- Hi.

And creative
powerhouse designer

- Neville Page.
- Hello, everyone.

Hello, Neville.

Now, this week, we pitted

the veterans
against the newcomers.

And for your first
spotlight challenge,

each team was asked to create

five original
fantasy characters

that all live in the same
hyper-stylized world.

First up, the veterans' work.

The ogre runs out on stage,

and I think he looks
really cool.

There's obviously
some more finessing

that could've been done,
but I think it's great.

I'm looking at my faun,

and I like the profile.

I like the color.

I'm liking everything
about this makeup.

My character looks so inhuman.

He's holding the baby,

and it's something
out of one of my nightmares.

It's perfect.

Our pixie looks amazing,
considering an hour ago,

she didn't look like anything.

So Alana and I
are feeling really good.

My witch is acting very creepy,

really embodying
this evil character,

so I'm excited to see what
the judges have to say.

That is so cool.

We have all
of these common elements.

Our characters look like
they belong together

on the same planet.

And now let's take a look
at the newcomers' work.

I think he's a cool character.

I think ve especially
is gonna respond

to this whimsical,

henson-esque character
that we've made.

I think that
she's really gonna get

a kick out of him.

That faun is exactly
what I want to see.

Beautiful, statuesque.

Laney and I carried
our weight on the team.

With the little paint
that he has,

he looks like a pig,
as opposed to a troll.

I just know I can do
so much better than this.

I feel so guilty

that my character
is the only one

without the stone.

But it's still
a finished makeup

that I like.

From the distance,
the witch looks okay.

But I'm afraid that up close,

they're gonna see the flaws.

I don't think we're gonna be
in the bottom looks.

Now that I'm seeing our ogre

with the rest of the group,

I'm really worried
it might not be

cohesive enough.

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

Open your mouth.

Quickly, like you're trying
to talk.

Yeah.
That's it, huh?

_

_

- Great shape.
- Yeah, that's fantastic.

But the front view is just
a big-nosed creature.

Can you open your mouth?

This is a cool treatment,

leaving this huge
negative space.

It's really nice and precise

in terms of the actual sculpt
work that's going on.

_

Can you turn around, please?

Oh, yeah, that's cool.
Fingers.

Close your eyes.
I can-- Oh, yeah.

There's so much space in there.

It's just really cool,

the way the hair
is brought down.

- Mm-hmm.
- I want to know

if it's purposeful or not.
What do you think?

- I hope it's purposeful...
- So do I.

- Because it looks really good.
- So do I.

Wrinkle your face,
close your eyes,

scrunch your brow.

Man, oh, man.

They're just looking

and touching and squishing.

Uh-oh.

Somebody's going home tonight,

and there's a big chance
that it's me.

What do you think
of tonight's designs?

Tell us on Twitter
using #FaceOff.

Man, oh, man.

They're just looking

and touching and squishing.

I'm just hoping,
please don't lift the shirt.

Please don't lift the shirt.

Uh-oh, massive leaking
and cratering.

Oh, my God.

Thanks.

I think the breast covers
are really good.

It looks like it's a morph
between metal

and something else.

That's classicAlien.

Can we see the other side?

Looks like
two different paint jobs.

- Okay.
- Thank you.

Okay, the judges
have scored your creations

and would like to speak
with some of you

to find out more
about your work.

Alana and Miranda, you're up.

Could you begin by explaining

the team concept to us?

We have our witch character,

who's the queen.

Our witch is blind,
so the incorporation

of the eyes
in all the characters is,

they're her eyes for her.

Our specific character
is the pixie,

so she wanders through these
woods at night and...

Loiterers...

- Stragglers.
- Lost stragglers,

like a moth to the flame.

It's really wonderfully done.

I'm truly impressed
with the subtlety

of the appliances--

They're not too thick--

and the multi-tiered ears.

I think that's
a great design concept.

Thank you so much.

Who did what on your character?

I sculpted the cowl.
Alana sculpted the face.

Alana did the awesome hair work

while I worked on the headpiece
with the paint job.

All in all, I think
this makeup's really nice.

You got everything painted.

You have texture
all over her body.

I think it's great.

She is cohesive
in so many ways,

from concept, execution,
the palette.

It's a beautiful, solid job.

- Thank you so much.
- Thank you.

Ladies, thank you very much.
Please step back.

Thank you, lovely.

Good job, girls.

Good job.

Tolin and Eddie, you're next.

Tell me what your team's
overall concept was.

All of these characters
have come

from different regions
of the planet Telesis 5

to form a high council.

This illuminated crystal
is a symbol

of this high council.

Who was in charge of doing

this particular character?

I sculpted the head.

Eddie sculpted the hands.

And we both fought
the uphill battle

of trying to get
those eye edges down.

His proportions
are so off to me.

I think something went
horribly wrong

with this character.

His shoulders aren't
big enough to carry

that head and those arms.

He should have had much more
girth across here

to support
all these other things

that he has going on.

I think that, proportionally,

when he's in a primate position,
I feel like--

I don't know if that changes
anything for you,

but it--
it kind of does for me.

He just looks like a blob
with a big head on top

when he's down there like that.

I hate to hear that.

I find it so substandard

on so many levels,

sculpturally being
the biggest one.

It does not have any finesse

nor surfacing.

It's just a static rubber head.

Ouch.

How do you two think
that came out?

Not that bad.

I would've given us a 7 1/2.

That's what scares me.

Sculpturally, the fact
that I can stick a finger

in between the edge
of that foam and his brow--

- Yeah, that was horrible.
- I find it hard

to get behind any decision
you made

with this makeup at all.

- Gentlemen, please step back.
- Thanks, guys.

Thank you.

Frank, RJ, and Eric.

Specifically to this character,

what's the concept about?

He is the guardian
for the witch.

I came up with the idea
that it should be

like a big, heavy thing
with a knuckle-dragger,

like a gorilla.

So who did what?

Well, I sculpted the head

and the face.

RJ sculpted the hands,

and Eric sculpted the feet.

Always for me,
the most important thing

is the overall silhouette,
the balance,

the proportion of something.

Sadly, that's where
this just screams,

"disproportionate."

It would seem to me
that there would've been

an opportunity to stop and say,

legs and feet
getting way too big,

or head is too small.

That being said,
I think independently

there are some good moments.

It's just the proportion
and the overall concept

is just not very appealing
nor interesting.

My initial reaction to this

is that the whole body
is missing.

It's hands and feet and head

covered with a blanket.

The basic mistakes
are what haunt me--

the static mouth,
which every one of you

has heard me
complain about sometime.

I just expected more,

is what it boils down to.

- Please step back.
- Thank you, guys.

Thank you, guys.

_

Rick and Laney, you're up.

Please explain to me

who did what on your character

and what your premise was.

We went with the disheveled
woodland creature.

I did the sculpting
on the face,

the ears, and the horns,

and she did the sculpting
on the chest piece,

the hands, and the feet.

And who did the painting
on the face?

- I did.
- Well, I gotta tell you,

I really like this faun.

I'm a little concerned
about the paint on the stomach.

That's the only thing
that bothers me,

'cause it's kind of like

there's no rhyme
nor reason to it.

But I love the way
it all comes together.

Everything looks great
to me on this.

- Thank you.
- Whew.

Whose decision was it

to pull the hair
down across the face?

That was mine.

We wanted her to have
a smooth face,

not much texture,
so I could put hair on her.

Brilliant stroke

because it really helps
with the treatment

of the nose,
which I think is quite clever,

because you've maintained
not only the humanity,

but also the feminine aspect
of this character.

Well done.

Thank you so much.

All of you, thank you.

Rick and Laney,
please step back.

Great, great job.

Adolfo, you're next.

So tell us about the concept

of this guy specifically.

He works in a mine.

He's in charge
of just collecting the stones.

I had a lot of problems
with the cowl--

specifically, taking it
out of the mold,

my mold broke.

I-I get all that.

Because you only focused
on the head,

you have an opportunity
to really showcase

the sculpt, application,
and the paint.

And none of those,
especially the sculpt,

work at all.

There's nothing
about the facial anatomy

that rings true
of it being humanoid.

It's got all the features
of human characteristics

but no sense of prowess
on your behalf

to be able to execute that.

I agree.

My main issue with this
is not only the sculpture,

but you didn't even put
a good paint job on it.

You can take a crappy appliance

and turn it into something
halfway decent

if you put a really good
paint job on it.

I want to applaud
your willingness

to go it on your own
when you're in a competition

against people
that have been here before.

So I think that's worthy
of note.

- Thank you.
- Adolfo, please step back.

Laura, please step forward.

Hey, girl.

Start by giving us
an explanation of the character

and its story, please.

My concept going in was that

she's gathering her strength
from people that she ate.

The people
that she was consuming

were trying to get out,

and these things
are actually fingers

coming out from the back.

I dig it a lot.

Thank you.
Thank you.

You are presenting something

that's completely fresh.

It's not what I've seen
from you before.

And that is testament
to the depth

of your design capabilities.

I think the design
is really interesting.

I am, however,
really disappointed

in your paint job on your face.

This is so beautifully painted,

and if that would have just
been traveled

right up onto the face,

it would have been
really exquisite.

- I totally, totally agree.
- But, I mean,

the costuming, everything else
is just beautiful.

Thank you.

- Laura, please step back.
- Thank you.

All right, thank you, guys.

Please head backstage
so the judges

can make their decisions.

Thank you.

- Thank you, guys.
- Thank you, guys.

All right, judges,
why don't we start

with Alana and Miranda?

It focused on the face.

Nothing was a distraction.

The treatment of the ears
and the jaw line

is absolutely gorgeous.

Miranda's got incredible
precision to her sculpting.

That cowl piece
was quite impressive.

All right, let's move on
to Rick and Laney.

What are your thoughts?

I love that makeup.

The fur coming
down onto the face

and then that shattered
pixie hair--

I thought it was fabulous.

And what a success.

They're competing immediately

against people
that have been here before.

- Yeah.
- Let's move on to Laura.

Well, as usual,

she did a really
amazing design.

She let herself go
technically a little bit

in order to present
this massive amount of work.

What she was doing
with those horns

and that transition
down into the forehead

was beautiful.

Okay, let's move on
to Tolin and Eddie.

It looked like
a papier-mache sculpt.

Regardless of who did
the actual sculpting,

just the concept
was so substandard.

And Tolin couldn't see

that there was something
wrong with it.

I'm bewildered by the fact

that he does not
readily acknowledge

that things went wrong
for him this week.

Okay, let's move on
to Frank, RJ, and Eric.

I didn't understand
why they couldn't see

at the onset
this huge disparity

with proportion.

Or why the torso
was covered in a tarp

with a rope tied around it.

I was disappointed.

All right, let's talk
about Adolfo.

There was a lot of things
he could have done

to really beef up that makeup.

If you have a problem,
figure out a way to cover it up.

He's very inexperienced,
but I think

he really wants to be better...

- Sure.
- ...than what he did this week.

But the point
still doesn't change.

That was a substandard sculpt
with no character.

- Yeah.
- All right, then.

Have you made your decisions?

- Yes.
- Yeah.

Okay, let's bring them
back out.

So, Glenn, which team
came out on top?

The veterans or the newcomers?

The top team tonight is...

So, Glenn, which team
came out on top?

The veterans or the newcomers?

The top team tonight...

is the veterans.

Yeah, buddy.

Congratulations, guys.

Not only did you guys have

a really great grouping
of characters tonight,

but it really seemed
like they belonged together.

Congratulations.

- Thank you.
- Thank you.

Okay, who is the winner
of this challenge?

The winner
of tonight's challenge is...

Miranda.

- Hey, girl.
- Yeah!

Whoo!

The pixie
was a great character,

but our favorite part
was the cowl sculpture

and the paint job.
Well done.

Thank you so much, you guys.

Just so exciting
to come right out

and win
the very first challenge.

It's gonna give me confidence
and a motivation

that I never had before.

Congratulations.

You and the rest
of the veterans

can head backstage.

- Thank you, guys.
- Whoo, Miranda!

I can't believe that!

Unfortunately, that means,
newcomers,

you are the losing team
this week.

Rick, Laney, Lyma,

Scott, Sam,

you are all safe
and can head backstage.

That means the rest of you

are on the bottom this week,

and one of you
will be eliminated.

Please step forward.

So Glenn, tell us about
the bottom artists.

Eddie and Tolin,
your character's proportions

were way off,

and he didn't feel
like he fit in

with the rest of the group.

Adolfo, we had a hard time
identifying

any anatomy in your sculpture,

and your paint job just
didn't have any life to it.

So who is going home tonight?

The person going home
tonight is...

Tolin.

What we found disturbing

was the lack of precision
and form

in your head sculpt.

Well, thank you
for the opportunity, guys.

It's been... insane.

Tolin, I'm sorry,
but you have been eliminated.

The rest of you are safe
and can head backstage.

Well, Tolin,
I'm sorry we won't get to see

any more of your work,

and we wish you the best
in your career.

Thanks, guys.

Tolin, it's been great
having you here with us.

Will you please head backstage
and pack up your kit?

Thanks, McKenzie.

Getting eliminated first sucks.

This guy.

I felt like I was
in a good position

to take it all the way.

You guys are awesome,

and I hope I get to see
everyone again.

I feel badly
I wasn't able to show

a greater breadth of work,

but this is the field
that I was meant to be in.

I don't have any doubts

about my ability as an artist.

I think I did the best work

that I was capable of,

and that's all
that anybody can ask.

Sync and corrections by n17t01
www.addic7ed.com
9999
00:00:0,500 --> 00:00:2,00
www.tvsubtitles.net