All language subtitles for Face Off - 5x09 - Mortal Sins.HDTV.CRiMSON.en

Previously, on Face Off...

Miranda earned
an incredible fourth win

with her sexy circus alien...

Thank you.

And veteran Alana
was sent home.

Now, only five veterans
and two newcomers remain.

Tonight, the artists
face a challenge

of biblical proportions...

This is my challenge to win.

And for some,
it will be pure hell.

Frank, can you please help me?
Please?

Miranda, I'm gluing shit!

I'm literally
on the verge of tears.

The sculpt is gorgeous.

There's almost nothing here.

It's an exceptional job
this week.

In the end 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

Are you more bummed out
about you being in the bottom

or more bummed out
that Alana's gone?

I'm just bummed out the way
that everything happened.

Like, it was a disaster.

I am so insanely heartbroken
that Alana is sent home.

I definitely think Alana and I
could have done something

way better, but we just weren't
able to pull it together.

Being on bottom
was really scary.

- Mm-hmm.
- I just hope

this next challenge, I can
get back to where I should be.

After being on top,
I'm definitely more motivated

to try to be there again
this week, so--

- But you can't have this one,
because this one's mine.

I'm winning this one.

The one that's coming up,

I don't care what it is,
it's mine.

In the last challenge,
I was safe,

but I didn't come
to play it safe.

It's time to step up.

We walk into Saint Brendan's,
a Gothic Revival church.

There's lots
of stained glass windows.

I love the chandeliers.

It's absolutely gorgeous,

but at the same time,
it's very creepy.

Hey, guys.

Hey.

Welcome to Saint Brendan.

This church was built in 1927,

and it has been
a popular filming location

for many blockbuster films
including Spiderman 3,

Fight Club, and Armageddon.

The stain glass windows
that are all around you

depict scenes
from biblical times.

Those ancient stories
are tied directly

to this week's
spotlight challenge.

The concept of Original Sin
was born in the Garden Of Eden,

but since then,
sins have only multiplied.

Many works of art, literature,
films, and television shows

have highlighted
the most famous of them all.

The seven deadly sins.

Wow, awesome.

This is something that I said
I wanted, and I'm so excited.

Your spotlight challenge is
to create a forbidding character

that embodies one
of the seven deadly sins.

Greed, envy, sloth, gluttony,
wrath, pride, and lust.

I am a big fan
ofDante's Inferno

and the story
of the seven deadly sins,

so this is my challenge to win.

Historically,
ch of the seven deadly sins

has been represented
by a unique color.

When Glenn calls your name,
make a selection

and tell us your sin.

Laney, you're up first.

Greed.

Pride.

Wrath.

Envy.

Sloth.

Gluttony.
Fat kids gets gluttony.

Lust.

Glenn, how would you approach
designing a makeup

based on a single word?

It's so important to find
the exact essence of that word

before you start designing,
but I challenge you

to bring it to life while
trying to avoid the obvious.

All right, guys.
Before you leave,

there's just one more thing
you need to know.

You'll each need
to incorporate the color

that's associated with your sin
into your designs this week.

Oh, great.
I have no idea

how to incorporate lust
and royal blue.

All right,
we're going to leave you here

to work on your designs.

Grab your apples
and get started.

- Good luck.
- Thank you, good luck.

When you hear gluttony,
and the first thing

that comes to mind
is a big, fat person,

so I want to build
a full body fat suit.

My mind just starts going
to all the technical aspects.

Like, how to build it
as big as I possibly can,

but I'm still trying
to figure out a way

to incorporate the sin's color
into the makeup.

When someone's greedy,
I think it makes them ugly,

so I'm going to make a woman
who's being boiled alive in oil

for eternity.

She's gonna have
a dress made out of money.

There'll be blisters
all over her face.

I'm gonna paint the skin tone
and her boils yellow.

Dante's Infernodescribed
sloth as spiritual laziness.

The consequence
is running into pits

full of venomous snakes,
being bitten and constricted,

and then eviscerated into ash,
reformed, and do it all again.

One of the things
in the cathedral

that's really inspiring me
is this giant crown

that's above the crucifix
of Jesus,

so my character will be bound
to a spiral staircase,

which leads up to the crown

with the eye of God
looking down and judging.

I'm gonna go
with an ashy flesh tone

and use the light blue
as my highlight tones.

Well, my concept is a demon
who committed the sin of envy

and has turned
into this hybrid of human

and the church
he was unfaithful to.

At this point, I'm not sure

how I'm gonna incorporate
the green,

but in Dante's Inferno,
people who committed envy

had their eyes wired shut,
so I decided

to make my character's eyes
broken stain glass windows

to represent that.

Okay, everybody.

So we get back to the lab,
we pick our models,

and we have six hours
to work today.

Immediately, I start sculpting
a cowl and a facial prosthetic.

Wrath is the physical embodiment
of hatred.

It's most sinful
when done upon yourself,

so I make my design
a woman tearing her own face off

and revealing
this demon within,

and then for the color,
this could be

a very bloody character.

Pride is also known as vanity.

My idea is to create somebody
who is so vain,

that they've so many things
to make themselves thin

and beautiful that they actually
have become a monster.

I know how I'm gonna
incorporate the color

'cause bruising is purple,

and I'm also gonna put her
in a purple dress.

The punishment for lust

is to get swept
in this eternal whirlwind,

and so I'm thinking I can do
this sweeping head shape

that goes into horns.

I've got blue, and it's
just not really my aesthetic

quite as much,
so the wheels are turning,

and I'm trying to figure out
how to use this color

and make it work for lust.

Basically, lay up here.

To get this fat suit started,
I asked Tate

to lay down on the table
so I could trace him out.

I have to make sure that things
are lining up correctly,

'cause otherwise,
when I put it on the person,

it could be a disaster.

I'm sculpting this fat suit

pretty much from the neck
to the knees.

I'm gonna sculpt it flat

and then glue it
around some wardrobe.

I'm gonna probably make
the fattest makeup

that anybody's made
on the show so far.

Go big or go home, huh?

Hey, guys.
Here for a walkthrough.

Well, I got sloth.

It's gonna be
two separate snakes,

one that constricts
the breathing

and another that binds the arms
behind the back.

That snake head's sticking out.

You might chop it off and just
make a little two-piece mold.

Yup, I already
got my armature ready.

Oh, okay.

Very good.

- Oh, my God.
- All right,

so remind us again
what you picked?

- Uh, gluttony.
- Uh-huh.

You know, first thing comes
to mind is a big, fat person,

so... Well, I'm trying to go
a little bit extreme,

because Glenn doesn't want it
to be the lowest hanging fruit.

I'm trying to go,
like, morbidly big.

You're lucky
in that when the character

is revealed to the judges,
they know instantly what it is.

- They don't have to be told.
- Yeah.

The color, how are you
gonna incorporate your color?

Still trying
to figure that out.

- Are you? Okay.
- Yeah.

- Hope it works out.
- Yeah.

What sin did you get?

I got pride.

I want to do sparse hair,

so I want to punch
individual hairs into it

instead of using
one of the lace wigs.

- It'll look a lot better.
- Yeah, it's a good idea.

Just use coarse hair, so then
you don't have to punch as much

as opposed to,
you know, a fine hair.

My sin is lust.

The color that I got
is this royal blue,

which I don't want to paint
the creature that color,

so I'm thinking I'm gonna do
the wardrobe in the royal blue.

I was thinking lavender
for the skin tones,

then fading up into the blues.

And then you're gonna do
a beauty makeup on her?

I am, so I was thinking
to use the blues in that

- as well.
- Very good.

- Good luck. - Good luck.
- Thank you very much.

Thank you guys.

I have wrath.
This is obviously

all gonna be exposed muscle.

Should I cover it in blood

or maybe just keep the blood
around the edges?

I would go minimal
with the blood,

- using the blood as an accent.
- Right.

Not as a Halloween character.

I got greed.
I took this youthful model,

and I'm going to make her
very old aged.

My concept with that is
she gets greedy, like,

her youthful
is drained from her.

You say you're gonna do
an old-age.

The wrinkles have to be right,
or it's wrong.

- You got a long way to go.
- Yeah.

So I got envy,
and I was really inspired

by the cathedral
that we were win,

so I'm definitely
incorporating that.

When you first look at it,
are the judges

gonna be able to understand
this is envy?

I-I hope so. I mean--

- I mean, that's something
to think about, you know,

- as you're doing it.
- That's gonna be tough, yeah.

Michael Westmore
is worried that my design

does not read "envy,"
and that's not a good thing.

I'm starting to doubt
my concept.

What are you going to do
to have the feel

of your particular challenge?

I might have led myself
in the wrong direction.

Were you thinking of that?

And this is terrifying,
because I'm gonna have to

change a lot of things
in order for this to work.

Coming up...

You saying
it's a quick-connect

isn't helping me at all.

I'm sorry, I'm in the middle
of gluing shit.

This is an amazing,
gorgeous makeup.

You're so far off from
an out-of-the-box approach

to the challenge.

When you first look at it,
are the judges gonna

be able to understand
this is envy?

I-I hope so.

It's day one of
a seven deadly sins challenge,

and I think
Michael Westmore is worried

that my design is too abstract.

A part of me is worried
that the judges

won't initially read "envy,"

but I really want to take
Glenn's advice

and do something different.

- Take care.
- Thank you.

All right, guys,
we're heading out.

Good luck.

- Thank you.
- Bye-bye.

- Thank you.
- Bye-bye.

So what's your concept, Frank?

Fat people.

I'm able to get this sculpture
done in about three hours,

which gives me plenty of time

to get it molded
and cleaned out today.

There's a lot of things
that can go wrong

on a mold this big.
You need to make sure

that it's re-enforced properly
so that it doesn't crack

when I have to take the mold off
the table and move it.

Your art piece?

Frank is doing a big fat suit.

He's doing what the judges
told him not to do.

He's dancing to Frank's tune,

and I think
he could be in trouble.

Since my character
is tearing her own face off,

the cowl needs to have
a lot of wrinkles,

I want to make sure
I get it right.

I want it stretched
and buckling and pulling

and there's a--
I guess I could let you--

Okay, who wants
to give me some help?

This is a big mold
that needs to get flipped.

Frank already molded
that thing?

- Yeah.
- Holy shit.

One, two, three.

- Look at that.
- I hate you so much.

It's sickening how quickly

the clay just falls
out of the mold.

He didn't have to clean out
a damn thing.

It's time!

Day one, and I got my fat suit
molded and ready for foam,

and I'm feeling pretty good.

I know Glenn said to not go
with the obvious route,

but with gluttony, I guess
it's got to be a fat person,

but I think that
because I'm going so extreme

with how ambitious this is,
I think that I'll be okay.

It's second day in the lab.

We have 9 1/2 hours,
and I have to make sure

all of my pieces are detailed.

I have to mold my pieces,
and then after that,

I have to fabricate
a few costume pieces.

It's normally not this quiet.

Everybody is just
so into their work.

There's a lot riding
on this makeup,

and you don't want to be
the one going home on this one.

So I've got to get my sculptures
finished up and molds made

and start running silicone.

I decide to go with silicone
all the way around

because I want to have
that translucent skin look,

but the last time I used
silicone in the lab

was on the Grimm challenge
that I got eliminated on,

so I'm taking a risk,
but you know what?

I'm gonna take it and run it
till I get it right.

I'm done with the face
and I'm gonna mold that.

While that mold is setting,
I'm gonna sculpt the arms

and the back of the neck
fat roll.

It's an enormous
amount of work.

I really want to go
outside of my comfort level

and really, really,
really push myself,

and this is about as big
and crazy as I can fathom.

I don't know
how to do wrinkles.

I'm really nervous
to be sculpting old age.

I've never really done wrinkles
or skin texture before,

but I'm hoping that
it will just impress the judges

that I'm trying to do
something different.

Looks really cool.

Time is ticking away,
and I'm just kind of

hopping back and forth
between the face and the cowl,

and just trying to get them done
as quickly as possible

because I know this cowl mold
is gonna take me a long time.

I've got three main components
that I need to fabricate today.

I've got to make the crown,

I have to make
the spiral staircase,

and I have to make
this giant snake

that kind of corsets
my character together.

I find
this foam-like tubing.

Then I find
this really cool fabric

that's almost like
a snake-scale sort of pattern,

and I spray-glue that down.

I use a soldering iron
to create some scale details.

Then I latex it over and
it looks just like snake scales.

Sculpting something
so geometric

has taken so much time
that I'm feeling very behind,

so I decide that I have to mold

the face, the cowl,
and a buttress.

This is a lot of work
in a short amount of time,

and I really want
to get it done.

Can one of you guys help me
just strength-wise?

I've got my mold open.
I just need to pick it up.

I've got ridiculous amounts
of work to do,

but I want to see
everyone succeed.

- It's so heavy I can't lift it.
- Oh, okay.

So I'm gonna help her
get this out.

Oh, shit.
It's cracking right here.

Yeah, I see a crack
over here too.

It's starting to crack
in a few little areas,

and I'm getting
a little scared.

You know what you should do?
Go to the power washer,

and shoot all along there
so you can loosen that clay up.

- Can you help me carry this?
- Yeah, you can carry that,

- I'll carry this one, yeah.
- Thank you.

So I run outside
to go power wash it.

Thank God for Tate.

Frank, how are you gonna
incorporate your co--

- You're what, orange?
- Orange.

How are you gonna
incorporate that?

Fuck if I know.

I'm so excited
to be building this fat suit.

Now, how do I
get this thing off?

I know that I have to come up
with a way

to incorporate the orange,
but at this point,

I have no idea
what I'm gonna do.

How do you change these?

I have to get these molds
cleaned out.

I am just frantic right now.

Oh!

The hose comes loose
and is spraying me everywhere.

It's just absolutely
terrifying.

How do I turn this off?

I don't know what to do.

Fuck!

Frank, you know how to change
this-- the head of this thing?

Oh, you just gotta
pull the thing down.

It's just like a quick-connect,
Miranda, like on the airbrushes.

Yeah, okay, well,
it's not working, so thanks.

I'm sorry, I'm in the middle
of gluing shit.

It's an individual challenge.
We're all busy as hell,

and she's screaming for help.

Frank, can you please help me?
Please?

Miranda, I'm gluing shit!

Oh, my God.

I don't know how the fuck
to connect this thing.

It's a quick-connect,
like the fucking airbrush.

Yeah, well, it's not working.

You saying it's a quick-connect
isn't helping me at all.

If I don't get this mold out,
I'm not gonna have any pieces.

I'm screwed.

I don't know
how the fuck to do this!

It's day two on the seven
deadly sins challenge,

and panic is starting to set in.
I'm like, "Oh, my God."

I've got to get this mold
cleaned out.

I'm literally
on the verge of tears right now.

- Tate.
- Hmm?

Will you please help me
to change this nozzle?

- Please?
- You just--

I've been trying
for, like, ten minutes.

- Yeah, okay.
- I'm sorry.

Tate, of course,
comes and helps me.

Which one do you want?

It's just really tough
for me to say no.

Oh, you don't change
the actual gun.

Leave the gun on,
but this part right here,

pull that down, pop that off.

I guess the problem was
that I had

unattached the actual hose part
rather than just the nozzle?

There you go, yup.

I still don't get
that damn power washer,

but thank God Tate does.

She took the whole gun apart

instead of the tip.

I'm really feeling inspired
by the idea

of prayer candles in a church,

so I'm trying to figure out

how to make these PVC pipes
look like drippy wax candles,

and Tate gives me a good idea
of using friendly plastic.

Friendly plastic are
little beads

where you can drop them in water
and heat up the water,

and it will
turn into liquid plastic

that you can shape
into anything you want.

Ten minutes left.

That's time, everyone.
Time's up.

By the end of the day,
I've got, you know,

both of my silicone pieces run,
I've got the cowl

partially painted
and some hair punched in it.

I can spend an hour tomorrow
finishing up the hair

and punching in the eyebrows,

and applying it
and getting it done,

so I think
I'm in a really good place.

After watching Tate
help Miranda in the lab today,

we're sitting at the house
and I just told him,

"You're gonna end up
out of this competition

because you keep
helping people."

Miranda's got four wins.
Us guys have one.

- Yeah.
- It's a competition.

Outside of here,
we can be friends,

but in here we're competitors

and there's $100,000
on the line.

I've got to figure out
how to say no.

Grow some balls.

He's right, you know?
I'm only hurting myself.

We're at the end
of the game now.

It's time for me to win.

- Let's go in, get some dinner.
- Yeah, let's make some food.

- Good luck.
- Thanks, man.

It's application day.

We have four hours in the lab,
one hour last-looks.

That's pretty fucked.

Application day
is terrifying because

I still have to fully paint
that 15-foot-long snake,

paint the spiral staircase,
and apply a chest piece, a cowl.

I've got ridiculous amounts
of work to do.

- How are you?
- Good.

It's so good to finally
get to work with you.

- I'm so excited!
- Same here.

It's an honor.

It's, uh--
it's gonna be exciting.

First thing up, I need a jump
on painting the fat suit.

So, my paint scheme
is basically

just a really irritated
and sickly skin tone.

That looks sick, Frankie.

Skin tones are tough
for some people to do

because it's not like
it's an alien

where you can just paint it
whatever color you want.

We all know what skin tones
look like,

so to put the subtleties
and the color breakups

and make it look correct
can sometimes be tricky.

All right, man.
Ready to get into this?

Let's see if it lights on fire.

I decide to make my wardrobe
look like it's been burned,

like she's been
through hell and back,

so I get some 99% alcohol.

Should work.

And I start spraying that.

I have a lot of experience
burning things.

It's just fun to me.

Ah ha!

My cowl did not
turn out very well.

It's in multiple pieces.
Not only do I have to

still do all of this
insane amount of work,

but now, I have to take the time
to re-patch

and re-fit this thing
together on her,

and the clock's dwindling down.

I'm just trying to do
everything I can

without making any mistakes.

When I get to my cowl piece,

the entire thing has
a second skin.

"Second skin" is when
you have the foam latex

and then the skin,
and they're not attached.

I have to cut off
the entire second skin

and then very carefully
glue it back on

so that the detail actually
matches up where it should.

I'm gonna have to spend
quite a bit of time

patching this, and I'm scared.

I don't think this sculpt
is gonna even look good.

Oh, man.
So much painting to do!

My edges on my application,

they're not as smooth
as I want 'em to be.

I need to fix that.

I'm just having issues, but I'm
gonna work my way through it.

There's gonna be makeup onstage

that at least I'm happy with.

15 freakin' minutes.

At the end of application,
I've still got

a ridiculous amount of work
to do.

I have all of my pieces
laid down,

but the paint job
isn't even halfway done.

I don't have any detail,
but more importantly,

there is absolutely
no light blue,

which is the color to my sin.

I still gotta paint
a giant snake too.

All right,
that's time, everybody!

My fate comes down
to one hour at last looks.

That's all I have.

Coming up...

Son of a bitch.

I'm almost expecting
to go home with this one.

There's no way
I'm gonna get it done.

I am just slapping
this paint on.

There's almost nothing here.

I think that the sculpt
is absolutely gorgeous.

Let's do it, guys.

Going into last looks,
I have to incorporate

some green tones
closer to the face.

I'm very unhappy with how
my makeup looks right now.

This hour is crucial to me,
so I go crazy.

I start laying down lights
and shadows.

I bring in that baby blue
for contouring.

Perfect.

I just hope I can get it
really quickly.

I just gotta zone in
to the painting for now,

'cause otherwise, there's
no way I'm gonna get it done.

I am just slapping
this paint on her,

and it's starting
to actually come together.

15 minutes, guys.
15 minutes.

I did not just do that.
Son of a bitch.

I got all these stitches
to put in,

and I don't really
have the time,

so I just paint them in.

I only have one minute.

It's time, everyone!

- Pbbt!
- Yours came together.

- Mine's terrible.
- No, it really

- didn't come together.
- It's so bad, I should've had--

I'm really nervous.
Shit.

Hopefully,
the judges will like it.

Welcome to theFace Off
reveal stage.

Tonight, one of you
will be eliminated.

Let's say hello
to our talented judges.

Owner of Optic Nerve Makeup
Effects Studio, Glenn Hetrick.

Good evening.

Hey.

Three-time Oscar-winning
makeup artist, Ve Neill.

- Hi, guys.
- Hi, Ve.

Creature and concept designer,
Neville Page.

Hello.

- Hello.
- Hey, Neville.

And this week,
we have a very special guest.

He's a two-time Emmy-nominated
writer and producer

whose work includes Wonderfalls,
Dead Like Me, Pushing Daisies,

and the critically acclaimed
NBC thriller, Hannibal.

Please give a warm welcome
to Bryan Fuller.

Thank you.
I'm so excited.

I've been a fan of this show
since the first season.

It's really exciting to have
somebody like Bryan here,

'cause he knows about edges
and seams and paintjobs.

He does deal with it
almost on a daily basis.

Bryan, a lot of your work

tends to lean
towards the darker side,

so I have a feeling
you're gonna really enjoy

- tonight's makeups.
- I'm so excited

to see what sinful things
you guys are conjuring up.

All right, guys, so this week,
your spotlight challenge

was to create
a forbidding character

that embodied one
of the seven deadly sins.

Now, we also asked you
to incorporate the color

that's historically associated
with your sin into your makeup.

So let's see
what you've come up with.

I think the makeup looks good
from a distance.

I should at least be safe.

I guess we'll see.

I can't believe
I pulled this together.

I was expecting safe
or bottom looks.

Now, I feel like I could
take maybe the whole thing.

I think it's so cool.
It's so big and so ridiculous.

All of the pieces came together,
and it's really badass.

I think I've completely
missed the mark.

It's a lame design, and

it's one of the worst things
I've ever done.

I think that they may
have problems with it

'cause maybe
they won't get lust from it,

but overall,
it's a good makeup.

I really like my makeup a lot.

My only concern is
if there's enough yellow,

and that could be a bad thing.

My makeup is definitely
the creepiest,

and if that was
one of the challenge parameters

that the judges are looking for,
I'm in good shape.

Judges, why don't you
take a closer look

at tonight's characters?

Oh, my goodness.
What's going on here?

The judges are going
directly to the places

I was hoping
they would not see.

- This edge is really rough.
- I almost want to think

that it's intentional.

- No, it's not.
- No, no.

I'm almost expecting
to go home on this one.

Who made your favorite
forbidding character tonight?

Tell us on Twitter
using #FaceOff.

Oh, my goodness.
What's going on here?

The judges are going
directly to the places

I was hoping
they would not see.

These eyebrows
look like brushes.

This edge is really rough
and it shouldn't be.

Wow.

- I don't get it.
- Thank you.

- Boy.
- This is a lot of work.

There's a lot of storytelling
going on.

I love the spiral staircase
to the unachievable crown.

- Mm-hmm.
- And the entire snake

- was sculpted as well.
- Yeah.

- Thank you.
- All right, thanks.

I'm utterly confused
by this shape

and why it doesn't carry
onto the forehead.

- Yeah, I know.
- Yeah.

I love the structural quality
blending into the makeup.

This could do
with a bit more definition.

Yeah, it's pretty rough,
but it's a good idea.

Thank you.

- Very pretty.
- It's really nice work.

- Yeah.
- It's certainly clean,

and the edges
are really well done.

- Yeah.
- Thanks.

Wow.

Because there's layers
of flesh tones,

it feels like foam.
It's such a singular color.

Actually pretty darn
through the neck.

Yeah.

I think it's very clever.
She so wrathful,

she's ripping her face off.

Not a ton of work, though.
I mean,

a lot of this is
on-the-day stuff,

so basically,
we're just looking at this.

Yeah, thanks.

So Bryan, how do you feel
they did tonight

embracing
the seven deadly sins?

Looking across
all these makeups,

there are so many ideas
and clever notions

embedded in all of them,
that I am very impressed

with all of your work.
Congratulations.

- Thank you.
- Thank you.

Okay, the judges
have scored your creations.

Let's find out
what they thought.

Laura,

Eddie,

Laney.

Congratulations,
you are all safe

and can head
back to the makeup room.

Thank you.

The rest of you
were the best and the worst.

The judges would now like
to speak with each of you

to learn more about your work.

Miranda, please step up.

Tell us about your concept

and how you integrated
the sin of lust.

Well, my character is a demon

who has a lust
for eternal youth.

She lures in men,
and then kills them

and drinks their blood
so that she can stay youthful.

I think that the sculpt
is absolutely gorgeous.

Oh, okay.

The symmetry is beautiful.
That is a massive amount of work

to do at that level...

...in the time that you had.

This is an amazing,
gorgeous makeup.

This whole area
right in the face,

I love the luminous lavender
of her forehead

and how your paint job brought
the tips darker at the top.

- Quite gorgeous.
- Thank you, Ve.

The lipstick makeup is
a little murky in there for me.

It's beautiful, though.
It is drop-dead gorgeous

as a piece.

If you're selling lust,

we need to see
a little more "T" and "A"...

But I think

you really succeed
with the makeup.

- Thank you.
- Miranda,

please step back.

Thank you.

Frank, please step forward.

So tell us about the sin
that you got

and how you integrated the color
orange into your makeup.

Clearly, this is gluttony,

and I glued
our little orange apple

that we got onto here,
so there's some orange for ya.

So basically, you didn't put
any orange into your makeup.

- Uh--
- This just

is a misshapen fat guy to me,
unfortunately.

I have problems
with the goiter.

How did you come about
this anatomy choice?

When Glenn said
that we shouldn't go

after the low-hanging fruit and
do the completely obvious thing,

I didn't want to go
too far from a fat suit,

'cause I thought
it would be fun,

so I tried to make it
as extreme as I could.

Do goiters have
anything to do with being fat?

No.
That's a medical problem.

From a creative concept
standpoint,

there's almost nothing here,
and the touch of the apple

feels like
"Here's your orange, guys."

The paint that you have
on the chest

is absolutely gorgeous.

The tones
couldn't be done better.

That said,
I think you were close

with the technical approach,
but so far off with a clever,

out-of-the-box way
of approaching the challenge.

Yeah, I understand.

Frank,
if you'd please step back.

Roy, please step up.

Tell us about your sin and how
the color is utilized in this.

The apple that I chose
was pride.

It's also known as "vanity,"

and every time that she looked
in a mirror,

she just keep seeing flaws,

so she kept getting
cosmetic surgeries,

so now her skin is so sensitive
that when ever you touch it,

it bruises, and that's the way
I worked the purple into it

is the purple bruising
of her skin.

The overall appearance
is pretty good,

but up close
is a real problem for me.

The application
is incredibly coarse,

and the details--
the stitches for example,

they're rudimentary
or nonexistent,

and that's what's
killing it for me.

This was one of those makeups

that was a little abstracted
from its concepts.

It wasn't quite as literal
as gluttony was,

so I felt that you were being
very thoughtful with it.

It's just-- on close inspection,
it wouldn't hold up to camera.

I understand.

It would have been so simple
to have created

more of the plastic surgery
story.

It feels like a zombie makeup,
and I don't feel

like that really encapsulates
your story about pride.

Roy, please step back.

Tate, you're up.

- Hello.
- Hi, Tate.

Tell us about your concept
and let us know

how you worked your color
into the overall aesthetic.

Well, I had sloth.

I wanted to embody
that torturous feeling.

I also read
that one of the tortures

was to fall into the pit
full of snakes,

hence all the snakebites
on the head and chest.

I took this reference
from the church,

behind the giant crucifix
of Jesus there was this crown,

so I wanted to use that
to interpret

the eye of God watching the soul
in eternal damnation.

It keeps my interest
and it keeps telling a story,

which I really appreciate.

Where did you incorporate
your color,

- which was light blue?
- I took the baby blue

and I took a stipple sponge, and
I put it over the high points

to use that
as my highlight tone.

Up close, it's definitely
apparent where you did it,

and I love the fact that you've
highlighted the forehead

so that stands out.

I think you did
a great job, honey.

Thank you, Ve.
I appreciate that.

There's a sophisticated
integration of the concept.

It's not too literal.

I understood the crown
having been at the church,

and the amount of work,
very impressive.

Wow, thank you very much,
Glenn.

Tate, you may step back.

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

If you'd please head
back to the makeup room

while they deliberate.

Okay, judges, why don't we start
with some of the looks you like

the most this week?
How about Miranda?

The painting was beautiful.

The way it gets darker
towards the tips, gorgeous.

Technically speaking, that is
the most beautiful makeup

on this stage, but it's not
recognizable as lust.

She seemed prude
for a lusty demon.

Yeah.

All right,
let's move on to Tate.

I dig Tate's makeup.
I think it's creepy.

I love the coloring on it.

He did a really good job
embodying sloth.

- It was incredibly clever.
- Yeah.

It's just a huge success
in terms of telling the story

and fulfilling
the challenge parameters.

Okay, let's talk about
the looks you like the least.

Let's start with Frank.

Frank used the expression
"Low-hanging fruit."

It felt like the fruit
was on the ground.

There was no gluttony
inspiration behind it.

He didn't have
the little, tweaky thing

that would have made it cool.

There's no connection
of the actual gravity

pulling on his flesh, so
it looks like a stuck-on piece.

And what about Roy?

The key to his version of pride

is plastic surgery gone wrong,

but he didn't pull any of it.

He didn't yank
her eyebrows back.

- Yeah.
- You know, all the things

that you would do
to tell that story

are absent in the makeup,

so it's just a zombie makeup
with stitches glued to it.

Yeah, and they're
not even glued to it.

- They're painted on.
- Oh, even worse.

- And the paint job was so bad.
- Yeah.

Lot of bad decisions
by Roy this week.

So judges,
have you made your decisions?

We have.

Okay,
let's bring them back out.

Glenn, tell us
about the top looks.

Miranda, we really appreciate

all of the intricate detail
in your head sculpt,

and you delivered
an outstanding paint job.

Tate, your character hit
on many, many levels

for us this week,
from your high concept

to the way that it was executed.
It all worked really well.

So who is the winner
of this challenge?

Tonight's winner is...

So who is the winner
of this challenge?

Tonight's winner is...

Tate.

Wow.
Thank you very much, guys.

This challenge seemed like
it was a perfect fit for you,

and it was really obvious
that you listened

to what I asked for.
Well done.

Thank you.
I appreciate it.

I did exactly what I wanted
to do in this.

I didn't hold anything back,
so it's extremely rewarding

that I was able to pull together
something that the judges liked.

Tate, congratulations.

You and Miranda can
head back to the makeup room.

- Thanks.
- Thank you, guys.

Unfortunately, that means

the two of you
are on the bottom this week,

and one of you
will be eliminated.

Please step forward, guys.

Glenn, tell us
about the bottom looks.

Frank,
we had significant problems

with the shape of the face
and the chin

and found the character lacking
overall in terms of concept.

Roy, despite looking okay
from afar,

up close, the sculpting,
blending,

and paint job on your character
this week were all really rough.

So who is going home tonight?

The person going home
tonight is...

Frank.

You did
an absolute ton of work,

but we could not get past
the sculptural

and creative choices
that you made this week.

I'm sorry, man.

Frank, I am so sorry,
but you have been eliminated.

Roy, you are safe this week.

If you'd please head
back to the makeup room.

Okay.

Frankie, I couldn't be prouder

of all the stuff that you've
done on the show this season,

and you're gonna go on
to do great things.

Frank, it's been great
having you here with us,

and if you'd please
head back to the makeup room

and pack up your kit.

- Good luck.
- Thank you, Frank.

I would rather go out
on a big, crazy, technical,

awesome makeup than go out
on some big, giant mistake,

and I didn't make
a big, giant mistake.

I made a big, giant,
crazy makeup.

- I'm out, bitches!
- What?

I'm proud of the fact

that I helped a lot of people
out this season.

Hey, no, don't.

Get out of here! No!

Hopefully, this time
people see the real me

instead of me goofing around

like I did the first time
I was on Face Off.

I'm proud of a lot of the work
that I've done.

I pushed myself as an artist

and I got to make
some really crazy things,

so it's been a lot of fun.

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