All language subtitles for Face Off - 01x02 - Naked Ambition.FQM.English.updated.Addic7ed.com

Previously, on "Face Off".

12 talented special
effects makeup artists

came to Los Angeles to compete
to join the world's elite.

Your first competition
starts right now.

Frank: I'm just about done,
so you guys can just

take your time on
the rest of that hour.

Wow, this guy is really full of...

- [balloon pops]
- You're gonna have to create

a half-human, half-animal hybrid.

- [trumpets]
- Man: There can only be one winner.

Conor.

McKenzie: Who is going home tonight?

Glenn: Jessica.

And tonight on "Face Off"...

Everybody, drop 'em.

It is birthday suits
as far as the eye can see.

Oh, that's awesome.

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

our award-winning panel of judges...

Ve Neill, legendary makeup artist,

whose work includes
"Edward Scissorhands",

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

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

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

and Patrick Tatopoulus,
visionary creature designer

for "Independence Day", "Godzilla",

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

I'm a very, very
big fan of your work.

- I'm blown away.
- I love this challenge.

Who will be the next
great name in movie magic

and earn $100,000 dollars

and a year's worth
of makeup from Alcone?

Get read for "Face Off".

We couldn't hear a word
anybody was saying.

Like, what happened?

Well, I mean, we were
up on the chopping block,

and they just pretty much slaughtered
us, and told us that our makeup

wasn't even good enough for,
like, a child's television show.

Being on the chopping block
during the first competition,

that is rough.

When Jessica's name got brought up,

and she was eliminated,
really shocked me.

I thought I was the one to go.

They called all four of us out,
they dismissed me,

and said "Next time, you have another
chance to prove to us what you can do.

I suggest you use your time wisely."

But they, like,
each took a turn tearing it down.

I grew up with people
tearing me down,

and I know how to build
myself back from that,

and I'm ready to prove
those judges wrong.

When Jess came back
through the curtain,

I don't really know
if it was the right choice.

Dude, I was shocked.

Sergio: Everything here has been
like going on a roller coaster.

It's very hard to think about
what's going to be next,

but that makes it fun.

Hey, everybody.

Welcome to your next
Foundation Challenge.

Now, as you all know,
the winner of the Foundation Challenge

gains some sort of perk or advantage
going into the Spotlight Challenge.

But today's challenge
is all about...

tattoos.

We're doing tattoos.
That excites me.

A good makeup artist
can create, design,

and apply a tattoo onto an actor
that looks very realistic,

and can also help tell a story.

So today, you will have two hours

to design and apply
an original tattoo

that has some sort of personal
significance to your model.

But you will be your own models.

I love to draw,

but drawing on myself upside down?

It is extremely difficult.

And to judge today's challenge,
we have an expert with us.

Please welcome world-famous
tattoo artist Thomas Pendelton.

Gage: The pressure's
on because Thomas

is a world-famous tattoo artist,
everybody knows of him,

and I know that it takes a lot
of discipline to get good,

because working on the skin
is a totally different medium

than paper or canvas,
so I have a tremendous

amount of respect for Thomas.

All right, what are you going to be
looking for in some of their work?

I'm looking for something
that means something to you guys.

You know, something that
is a legitimate tattoo

that would last the test of time.

I'm nervous.
I'm hoping that I can show the judges

that I do deserve to be here.

Your materials are
already at your stations.

So let's start tattooing.

There are several different
ways to do a tattoo makeup.

I mean, some people
like to use transfer paper,

some people like to use tattoo pens,

some people like
to use acrylic paints.

Every artist has their own method.

Frank: I have two tattoos,
which is what

I'm kind of going over right now,

and both of my tattoos
are in black light ink,

so I can't even see 'em
to even know how they look.

Tracing tattoos, tracing in general,

it's cheating.

Tate: I came up with this cool concept.
I'd never tried it before.

But I drew the outline
on a piece of clear plastic,

and then I let it dry,
and then I spritzed it with alcohol,

and I pushed it
on to myself to transfer.

The happy accident about that

was the alcohol grabbed up the ink,

and it spread out, so it instantly

created shading for me.
It was great.

Funny thing is,
this is the exact tattoo

that I designed and planned
to have right here.

I'm a proud New Yorker.

I basically wanted to incorporate

parts of New York
that were in my life.

My grandfather had
a, like, from the 1920s,

a really old, like, you know,
tattoo, like, just like this.

Oh, cool.

Him and my grandma
passed away just recently,

so I figured I'd put them
together with this tattoo.

Sergio's still drawing
on the transfer.

He's doesn't understand
time management.

That's gonna be a problem for him.

I'm creating a stylized portrait
that's representative of my mother.

The side portrait
of a woman is something

that's often replicated
in tattoo artwork.

I'm done, guys.
I'm gonna take a nap.

Let's see it.

Frank: I've done what
the challenge is,

to make tattoos, and
make them look believable.

So I just sit around, put my feet up,
just relax. What else am I gonna do?

I'm not gonna start making up other
things that I don't want as tattoos.

You have 15 minutes.

I thought, "Well, I've been away from
my girlfriend, I kind of miss her."

So I chose to do the words
"Till death do us part".

Frank: Tom, do you realize

that your tattoo is backwards?

'Cause you're doing it
in the mirror, it's backwards.

[chuckles] I do now.

I'm [bleep].

Tom: But I got a chance
to look at Sergio's.

We had two hours, and he had a crooked
anchor with upside down letters.

Sergio: I sprayed the wrong side,
and it kind of melted away

the whole design
that I had just spent

tons of time working on,
so that wasn't good.

Time's up, everybody.
Time to stop working.

And I look over, and I see Jo,

and she just has tears
welling up on her face.

I told her, you gotta keep going.
You have to keep going.

- Hi.
- Hey, Jo. Tell us about this.

This is just a shadow of this flame
stack that we had in this town

that I went to special effects school,
and it means a lot to me.

I think it's cool,
it's just placed a little weird.

Like, it's...
It's kinda at an angle up here,

and you're hitting
your knee right here.

I like tribal tattoos.
Werewolves were my inspiration

for getting into the business
in the first place,

so I decided to try and do
a werewolf tribal design.

I mean, the goal here is to make
it look like you're an actor

- that's tattooed, right?
- Mm-hmm.

The problem with this thing is it
looks like you scarred up your talent.

I'm from New York city,
so I incorporated Manhattan,

Bronx, Queens,
Brooklyn, Staten Island,

the skyline of New York City with
the World Trade Center in it.

I think it looks cool.

This is my deer skull.

Some of my fondest memories are
camping and hunting with my father.

Everybody's done theirs facing them.

Why did you choose
to do it this way?

I felt that it flowed
with my anatomy better,

and it gives me more options if
I wanted to go with a sleeve.

You thought out your placement,
which is really important.

It's sort of
a representation of my mother.

It looks like a traditional tattoo.

It definitely has that flavor.

It looks good.
You did a nice job.

So, what you got going on here?

I got my broken leg, which I actually
have tattooed in black light ink,

and then I have
"Send more paramedics",

which I actually have
tattooed in black light ink,

and then this is where
I broke my wrist.

You just recreated
tattoos you already have?

Okay.

It seems to me, as an artist,
that you would have really dug deep.

I mean, this just
looks like you're clumsy.

I look around the room,
and everyone's tattoos are great.

It wasn't hard at all, I think, for
the other guys to come up with ideas.

So, Thomas, what did you think
about some of the work today?

I thought some of it was good
and some of it was... was tough.

Who do you think fell short
of today's challenge?

I think Sergio's anchor
was a little tough.

It seemed, like you
got lost in that piece.

It definitely could have been
a lot better had it been finished.

Frank's bones tattoo.

It seemed like you didn't even
want to do this challenge, brother.

I saw you reading a book
for about an hour, so...

I had no idea he was gonna judge
me on the bottom with Sergio.

Well, is this a show about
your personal taste in tattoos,

or is this about whether
or not our tattoos

are competently done
as makeup artists?

Competently as a makeup artist?
I don't think it was either.

It looked like a kid drew on your leg.
Sorry, brother.

Who were some of your favorites?

I think Tate's tattoo
was done really well.

I think you thought
about the layout,

you thought about the piece.

I think Anthony's tattoo,
as far as an onscreen piece,

I think it would have
the most dramatic effect.

I thought Sam's traditional
tattoo was beautiful.

I think it looked like
a legit tattoo.

You would think
it was definitely real.

So, who is the winner
of this challenge?

The winner of this challenge is...

Tate.

Thank you.
Very much.

I'm glad he got it.
I thought the tattoo looked great,

and I'm usually my biggest critic.

Congratulations, Tate.

You have won this
Foundation Challenge,

which is going to
give you a big advantage

going into tomorrow's
Spotlight Challenge.

So, with that,
I will see you all later.

Oh, man, this is
gonna be a crazy day.

Frank seems like he's, like,
digging himself a hole.

If it's a strategy,
I don't think it's a good one.

Frank obviously has mad skill,

but he's kicking his feet up
every chance he gets.

Well, whatever
the Spotlight Challenge is,

if he really rocks it out,
he can bring himself back.

Tate: How much you wanna bet
he finishes an hour early

and reads a book, though?

Megan: We walk in the lab today,

and we see these big canvases,

and each one of them
are different pictures.

Welcome to your next
Spotlight Challenge.

First, let's meet the models.

Gage: Our models all walk
out in a single file line,

and line up in front
of the backdrops,

so we don't quite
know what's going on.

Wow.

Before we go any further...

Everybody, drop 'em.

Megan: Oh, my God.
What are we gonna do?

Tom: The models walk out,
and they're in robes.

That's kind of odd.
What the heck are we doing?

- Wow.
- Before we go any further...

Everybody, drop 'em.

Megan: Oh, my God.
What are we gonna do?

It is birthday suits
as far as the eye can see.

Okay.

Tate: What do you know?
Robes come off,

nothing but boobs and wieners
all around the room.

You guys doing okay?

Guys, it's just a wiener.
It's just some boobs, you know?

Well, I hope that you're ready
to transform these lovely people

into actual living pieces of art,

because that's what
this challenge is all about.

Nude body painting.

It's a shocker. I've never painted
anybody, naked, clothed, either way.

As you can see, each of the models
is in front of a different backdrop.

It's up to you to figure out how
you want to incorporate your model

into the background,
whether you paint them in an outfit,

or you blend them in.
Whatever you want to do.

Your final look needs to be
worthy of a magazine cover.

You'll be judged on
creativity, technique,

and the overall presentation
of your final photo.

Okay, models, I think they get the idea.
You can cover up.

Now, I've brought in an expert
to help judge this challenge.

Would you please all
welcome one of the world's

premier body painters Filippo Ioco.

- Hi, Filippo.
- Hi, McKenzie.

- Thanks for having me.
- Thank you so much for being here.

I've seen some
of Filippo's work before.

It's amazing stuff.
It's really cool.

I was glad that he was
there as a judge for it.

Filippo, can you tell them,
what does it take

to make a great cover shot?

I think what makes
a great cover shot

is using the power of your
imagination to the fullest,

making sure you
have your detail down,

your color, because
at the end of the day,

this cover is gonna
be seen by everybody.

It really breaks out from the whole,

"I'm a special effects artist. All I do
is blood and guts and monster movies."

Let's get this underway.

Tate, as the winner of
the Foundation Challenge,

you get to choose your backdrop
and your model first.

Tate: I look down the line,
and the first backdrop

that grabs me is the rainforest.

Then I see that
the model in front of it

has this big afro,
and I'm, like, lion's mane.

Next up, Tom.

Tom: I don't think I was
as shocked at the nudity

because I was looking at
the backgrounds, trying to decide,

"What am I gonna do
with this project?"

I think I'll go with this one.

Sergio.

As each name is being drawn,
I think all the guys

are just kind of hoping that they get
a chance to pick a girl.

I did, too, but I think I got
a better image in my head

of what I wanted
art-wise with tornado.

So, I'm trying to narrow down,
"Okay, if I get this one,

this is what I'm gonna do," and they keep
picking names, they keep picking names.

Jo.

Anthony.

Frank: I'm just getting
crankier and crankier.

Gage.

- Okay. How's it going?
- How you doin'?

Aw, crap.

I was gonna take that one.

- Marcel.
- Awesome.

Go ahead and make your pick.

- I'm gonna go with you.
- Nice to meet you.

I got one of my top two picks,

which was the moss
waterfall one, so I was happy.

Conor.

- How you doing?
- Let's do this.

Frank: It's me and Megan,

and there's an abstract painting,

and a picture of an elevator,

and I'm just praying
"Do not give me the elevator."

All right, two left.

Let's see who it is.

- Yes.
- Megan, go ahead.

Hey, girl, what's up?

Yeah.
We're gonna have fun.

Cranky Franky's pretty much
in full force at this point.

I was obnoxiously annoyed at the fact
that I was last to pick again.

So now that you all have
your backdrops and your models,

you'll have six hours until the photo
shoot to complete your body paint.

Good luck, because
this challenge starts now.

Jessica, I'm Megan.

- Nice to meet you.
- Nice to meet you.

I'm very nervous about this
project because I've never

done the body paint
on a model before.

Get your body
aligned with your hips.

Okay, knees in just a little bit.

I'm not a fan of being
that close to naked people.

So, yeah.
Not my challenge.

Sorry, I don't really know the protocol
of working with naked models.

- This is a first time for me.
- It's okay. No, I do it all the time.

I want to actually
turn you into a fish.

This is gonna be interesting because I
didn't do too well on the last challenge,

so I really have to
show off this time.

I'm just going off of my own
imagination to make this fish lady.

What I'm going to start off with
is maybe something that is...

like you're holding a book,
standing a little bit to the side.

I had a definite idea of what
I want to do with the bookcase.

I wanted to jump at that chance
to give somebody painted clothes.

All right, I'm gonna have you
go ahead and try another pose.

Bring your head up
a little bit more.

That could be cool.

The actual challenge
is to create a photograph

that's going to be
shown to the judges,

so that was really important
for me to get that pose right.

There'll be a lot of me thinking.

Maybe I'll bounce ideas
off of you or something.

I actually thought
this was a Venice backdrop,

and not a New Orleans,
but we're gonna do a statue anyway.

I may not have the backdrop I want,

but I'm still
a competent makeup artist.

It's like painting by numbers.

Tate: I felt really
bad for Frank's model

because he seemed like a nice guy,
and he was obviously there

to help Frank achieve something, and
Frank just completely disregarded him.

My artist hasn't even introduced
himself to me. I don't know his name.

He had his back to me
the whole time.

Frank: Just having a bad day, FYI.

My name is, uh, Jeantel, by the way.

Yeah.

I'm sitting at my desk,
and I'm looking at a blank sketchpad,

and I have no idea what to do.

And I'm like, "You know what?
I'm just gonna forfeit this."

Frank: Our challenge
is a body painting.

I'm looking at a blank sketchpad,
and I have no idea what to do.

And I'm, like, "You know what?
I'm just gonna forfeit this."

Conor: Dude...

Huh?

I don't know, I haven't decided yet.

I was talking to Conor,
and then it just clicked.

It's, like, I can't do that. I can't throw
in the towel, not on something like this.

It's...
That's not the way I am.

I have to, at least,
make it into the safe zone.

So I decide that I'm gonna just
paint him into the picture,

Everyone's doing a really great job.

I'm actually pretty intimidated
by what they're doing.

I'm feeling great about this. It's coming
together exactly how I envisioned.

She's gonna be the cobblestone road

beneath the base of these stairs.

This is gonna be like weeds coming
out of the cracks in the road.

Anthony: I'm basically gonna
camouflage this girl into the painting.

The whole thing is petrified wood.

When a forest burns down, it gets
rid of the dead weight and rebuilds,

so I started coming up with this
idea of her peeling off the bark.

You can actually bring it down just a
little bit so we're covering the cooch.

Cover the cooch?

Marcel:
I'm doing a living wallpaper,

so I'm gonna blend him
completely into the picture.

I have painted a nude person,
but I've never done

where you try
and blend them into a wall.

My model was a male,
and he played with his penis a lot.

He's constantly,
like, adjusting himself.

I was uncomfortable,
and other people noticed it to.

I was, like, "Just quit playing
with yourself, and we'll get going."

Tom: Oh, that's awesome.

I see what you're doing.
That's awesome.

I wanted my model to have boots
because I think that, painted on,

if you do it just right,
it can look amazing.

I cut out these
two little wooden blocks

so that she looks like
she's wearing high heels.

She can't stand on them,
but she'll have to tiptoe.

Gage: I'm turning
my model into a statue.

He's in a museum,
according to the backdrop.

What I've done is
I've gone in with wet clay,

which is a really easy,
sculptable clay.

I can go in, work with it quickly,
get that texture in his hair.

I am super-focused,
but I'm looking around, of course.

Frank still hasn't really done much.

No, this wasn't my first choice.

Didn't particularly feel
like painting wieners.

Tate: Frank makes
his guy face the wall

because he didn't want
a penis in his face.

I understand the concept, but,
you know, you have to make exceptions.

Frank: I can't figure out any
way to incorporate his hair.

Gage: Frank's telling his
model to face the wall.

He also put a lampshade on his head.

It lowers your model's
self-esteem a bit.

Frank is just...
He's done.

Yeah, if he's in the bottom,

I don't care who wins.
He needs to go.

It's not about the personality.

He slept through
the [bleep] bar challenge,

he slept through the tattoo challenge,
he slept on your bug.

I don't think he's used
to this kind of pressure.

He might be able to handle a shop,
but, I mean,

this isn't a shop.
This is madness.

Well, my concept is a bronze statue.

I'm gonna start doing patinas

to make it look like he's
been out in the weather,

exposed to the elements
for a period of years.

Tate: If Sergio doesn't
get his stuff together,

this will likely be the end of him.

We're like four hours
into the competition,

and his model's still
just standing there nude.

I'm, like, you know, the same reason
our piece failed the first time,

the same reason the tattoo... his
piece failed in the tattoo challenge,

is exactly what's about to happen.

I'm, like, dude, get with it.
Like, start doing more.

Time? I'm actually not very anxious.

I've done body painting before, so I'm
feeling pretty confident about this one.

How's everything working out?

Well, look at this paint.

I grab white paint.
I thought it was body paint.

Turns out to be acrylic paint.

Yeah, that's what
I realize now, after...

yeah, putting it on her.

I was really panicking
at that point.

I'm extremely apologetic about that,

'cause I know that it's an uncomfortable
paint to have on your body.

Poor Jo is, like,
really scared, I think.

She thought it was body paint,

but it was actually
just regular acrylic,

so that ends up, as it sticks,

it ends up like kind of
peeling and cracking.

Jo: I'm thinking
that I'm gonna have to peel

every piece of this acrylic paint off
of her, and completely start over,

and that I'm not gonna pull it
together by the end of the challenge.

I'm gonna be on the chopping block.

They're gonna rip me to pieces
again in front of America.

McKenzie: Coming up...

I'm panicking. Do I even get
a chance to have one photo?

Glenn: A very striking image.

I think you should
push it much further.

You bit off more
than you could chew.

Megan: I'm looking around the room,

and I see Jo used acrylic paints,

and her fish is cracking.

So what are you gonna try and do?

I'm gonna have to just go with it.

Jo: At this point,
I don't have time to turn back.

I have to just go with it.

I have to seal her
and hope that the sealer

is strong enough to hold
the acrylic paint together.

Anthony: It's not just the makeup.

We're not bringing
the models on stage.

The judges are gonna see photos,

so it's not just what it looks like

in front of you in real life.
It's gotta read on camera.

McKenzie: That's time!

- How are you?
- How's it going?

- I'm Travis.
- Nice to meet you. Marcel.

Marcel:
Travis the photographer comes out,

and we each have 10 minutes
to take the pictures,

which is scary because
trying to line up someone

to match a background
can take 10 minutes alone.

Ah, I need white!

Just a little bit this way.

- Great.
- Let's go with our marks.

Travis: Yeah.

You know, he's maybe
coming back from the well,

and he's getting this huge
sandstorm right behind him.

Your whole concept has to
come through in one shot,

so it was really important
for me to get that pose right.

Oops.

Did he just hit him
with a tumbleweed?

- That's good.
- Yeah, there you go. There you go.

Perfect.

Yeah, keep it going, man.

Sam: I was afraid for Sergio.

When I saw his model,
I thought, "He's naked.

That is a naked man." [laughs]

That is a naked man with a headband,

and that was just six hours of work.

Conor: My models' having
a hard time balancing,

so I'm trying to be there for him.

I'm just thinking
get the pose right,

and, you know, let's
get some good pictures.

Lay down.

Tony: I definitely
saw some strange looks

from the other contestants
when they noticed

that I put a weed growing
from my model's rear end.

To me, in the image, it made sense.

I wasn't trying to be silly.

Looks really cool.

The idea is that she's
picking her bark apart.

I wanted everything
to be balanced perfectly,

because whether it's a photo,
whether it's for film,

you have to envision
your makeups as a whole.

Okay, good luck, man.
That was awesome.

Didn't need my ten minutes!

Frank was, like, "All right,
I'm done with five minutes to spare."

Then he left his model
standing there.

We were supposed to take
our models and walk with them.

Tom: He doesn't know you're done.

... take your lampshade off.
I'm sorry, dude.

It was sad.
I felt so bad for his model.

Okay. Let's have you stand up there.

Megan's turn comes up,
and she has ten minutes.

For the first seven minutes,

the only thing
she's doing is touch ups.

Time is flying,
and she's still painting.

Megan, go.

Gage: She's not hearing us.
Something is amiss.

She could be eliminated for
not having a photo of her work.

Oh, my God.
Oh, my God.

I failed to realize

that we only have ten minutes

to do touchups and take the photos.

Two minutes, Megan.
Less.

Oh, really?

So, I was, like, "Oh, my God, no!"

I'm panicking. Do I even get
a chance to have one photo?

Welcome everybody,
to the "Face Off" reveal stage.

Tonight, one of you
will be eliminated.

Say hello to our panel of judges.

Owner of Optic Nerve
makeup effects studio,

- Glenn Hetrick.
- Hey, guys.

Three-time Oscar-winning
makeup artist Ve Neill.

Welcome back, everybody.

Creature designer and director
Patrick Tatopoulus.

Good to see you again, guys.

- Okay, Patrick.
- Good to see you.

And this week, special guest judge

renowned body painter Filippo Ioco.

- Hi there, guys.
- Hey.

This week, your Spotlight Challenge

was to do a head
to toe body painting

on a nude model
for a magazine cover.

So let's get started.

Tate: My whole strategy
in this was to show

how much I can do
in a little amount of time,

and I painted the [bleep]
out of that girl.

I put leaves, flowers,
butterflies, and rocks.

That's my golden ticket.

Jo: They can say, "Your execution

was horrible,
you used acrylic paint."

You know, I'm hoping that they just say,
"You may leave."

I do not want to be
on that middle circle.

Frank: I wasn't super-duper
impressed with my shot.

My lampshade wasn't
anything special,

but if it was
an IKEA catalog, maybe.

Tom: I was
very impressed with my photo

because it looked exactly to
me how it looked in person.

It came out how I envisioned it,

and it represents me as an artist.

Sergio: I think it definitely
represents what I was going for.

I'm still just worried
about whether or not

the judges will know
how much work went into it.

Gage: I'm feeling really good.
I'm, like, see that, judges?

I can do it.
I can do it all.

'Cause I really
wanted to prove myself.

Marcel:
I felt like if I'd had more time

to, like, really line him up perfect,
it could've been better.

But for what it was
and the time I had,

I feel like it turned out
really, really well.

Tate: Marcel's,
the color match is impeccable.

So he blew me away.

Sam: When the challenge is done,
I'm able to finally

step back a little bit,
and I'm just blown away.

I think I did a great job on it.

Conor: I was satisfied.
He's chiseled,

he's a perfect bronze statue.
I'm now thinking I'm safe.

Anthony:
I look at the picture, I'm just like,

"I don't know, Anthony, maybe you're
not too sure of yourself anymore."

And good, 'cause if
I get a little too cocky,

then I'm just as bad as Frank.

Megan: I love my work,
but I'm my harshest critic.

I felt that it could
have been better.

McKenzie:
The judges have scored your final shots.

Sam...

Gage...

Megan...

Marcel...
and Frank.

Frank: Standing up there, whether
you're on the chopping block or not,

man, is it a lot of stress.

You're all safe.
Congratulations.

Please, head back
to the makeup room.

Frank: Can I just say,
thanks sweet baby [bleep]?

I know, I was surprised
at you, Frank.

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

Now, the judges would like to
have a word with each of you

to learn more about your work.

Jo, please step forward.

There's so many things
that they could say.

"No, no, that's not right.
Your execution was horrible"

There's many things that
they could eat me alive with.

Jo, please step forward.

I have no idea what
they're gonna think of it,

if they're thinking
it's too childish,

if they don't think that
my skills are up to par.

There's many things that
they can eat me alive with.

Is this the first time
that you've body painted?

Oh, yeah?

It's the third time I've ever really
picked up an airbrush in my life.

Well, I would like to congratulate
you on a terrific job.

- Thank you.
- Because I love, love all the detail.

The imagination
that you put into it,

you accentuated her body,
you brought her beautiful features out.

Glenn: I think you did a great job.

Very striking image all together.

- It's bold. I really, really like it.
- Thank you.

I love the fact that
you painted her entire body.

Your paint scheme is gorgeous.

It's beautiful.
Congratulations.

- It's awesome.
- Thank you.

I can see in this image
that it was very thought out.

I couldn't be happier
because it looks like

what we talked about last week is
reflected on your work this week.

- Congratulations.
- Thank you.

I feel good about what I've done,

and I do feel redeemed
after the first challenge.

[whispers] Thank you.

All right, Tate. You're up next.
Please come forward.

Hi, everybody.

Unfortunately, Tate,
this did not go well for you.

As an image, it's just
sort of too monotone.

I think you could have
succeeded by bringing

those lighter colors in,
and punching up the contrast.

I do agree. I had some trouble
with some of the colors.

I couldn't get
the vibrancy that I wanted.

Regardless, I do agree.

Well, great. That's good
that you know what went wrong.

- Absolutely.
- The picture has this big detail,

and you did a whole
bunch of small detail.

If your detail would have been
the same size as the backdrop,

I think it would have
looked really cool.

You bit off more
than you could chew.

Okay, I appreciate your criticisms.

Thank you.
Thank you, guys.

Sergio, please come forward.

Okay, what is your
concept here, Sergio?

I looked at all the backgrounds,
and I saw this big tornado,

and so I got an image
real quick about somebody

from a very indigenous area in like
South Africa or something like that,

to get some food for his family.

Uh-huh.

Boy, that's a long story
for a very short makeup.

I don't really see all that much
on him except for some white paint

and a little bit of jewelry
that you've painted on him.

What did you do with your six hours?

Well, he was a lot
lighter, actually.

I mixed up three different shades

of darker skin tone
so I could darken him up a lot.

Anybody can do
body makeup like that.

You could have done so much more.

You should have spent your time

developing that jewelry
that you painted on him.

Your not making really
good choices, Sergio.

I do like the image,
maybe more than most of us here.

I think the tones are very warm,
there's a great intensity,

the character's amazing,

but you didn't challenge yourself.

I think you should
push it much further.

Glenn: I have to agree
with everyone else.

I'm not happy with
this piece of work.

I think that because of
your decision making, it's a failure.

I really appreciate all your input.

Thank you, guys.

McKenzie:
Anthony, please take a step forward.

Ve Neill: Can I just say one thing?

This was awesome.

- Thank you.
- If you hadn't have had those open spaces,

I think it would have
been very difficult

to pick out where your person was.

It's like she ripped a piece of
her body off, and is screaming.

I just really love it.

Coming from you, that is an honor.
Thank you.

When I first look at the image,

I loved the orange as being
such a strong statement.

It looks like the rocks
are getting lighter

as they come to her body,
so you bring all the attention

to that center orange spot.
It's very, very powerful.

I gotta give you a lot of
credit for making this decision

and sticking with it, because it is
difficult, and if it didn't work out,

it would have really not worked out.

It would have just been
someone with gray paint

standing in front of a rock.
Congratulations.

Thank you, sir.
Thank you again.

Tom, please take a step forward.

I really like this.
Very, very cool, very well done,

and you're demonstrating
proficient skill with the airbrush.

There's a lot of different techniques,
and I see all the things

that went into it and
it's pretty impressive.

Thank you.

I think this is terrific.
I just love it.

And I love the way that you turned
her hair into the little weed patch.

The other weed patch...

Well, we all know
that's her derriere,

so I think maybe you could have
chosen to move it over just a smidge.

Other than that,
I think it's just a beautiful job.

Very well done, Tom.

Love this image that you created.

What I liked the most
about this image

is that it's so inviting

that you actually
want to walk into it,

and I really like that a lot.
Congratulations.

Thank you so much.

[whispering] Thank you, thank you.

Conor, you're up next.

I don't know where I stand now.
I don't know if I'm safe.

Nothing's making sense to me.

McKenzie: Patrick,
why don't you start us off on this one?

I do like the clever idea
of the bird dropping,

I think this is very
cool, the concept.

I'm not a big fan of the makeup
or the way it was shot.

I'm not seeing the bronze in there,

I'm seeing a naked man with
dirty patches on his body.

I was disappointed.

Filippo:
He should be more weathered.

When there's a bronze
statue or a copper statue,

if it's out in the elements,
it starts to patina,

get all the green and the blue,

and I think it's
really missing that.

Okay.
Thank you.

All right, judges.
Who's the winner of this challenge?

Well, Anthony's work this
week was really fantastic.

Tom's work is very comprehensive.

And Jo, I think that
you really showed us

some skills, and could fight back.

All right, Glenn.
Who is our winner?

This week, our winner is...

Anthony.

- Congratulations. You deserve it, man.
- Thank you, guys.

Thank you so much.

McKenzie: Congratulations, Anthony.

Anthony: That was one of
the most happiest moments of my life.

I'm ready to cry. It was...
Honestly, that right there

was better than winning
any Academy Award.

- Anthony, congratulations.
- Thank you very much.

Please step forward, because you
have earned the right to consult

with the judges now as to who you
feel should be eliminated this week.

Everybody else, if you could please
head back to the makeup room.

Well, Anthony, out of Tate...

Sergio...

or Conor...

who do you think
should go home this week?

Oh...

I really have a hard time
making that decision 'cause...

- Understandably so. Yeah.
- It's...

I would like to go up against
Tate and Conor in sculpting

and see where we stand there.

That would make me
feel better as an artist,

not just taking the easy way out
and getting rid of the best man.

- Mm-hmm.
- So I'd have to say Sergio.

Okay.

Before you leave,
Filippo has been kind enough

to bring in a signed, limited edition
copy of one of his body paintings.

Oh, my God.

- Oh, my God.
- There you go.

Thank you so much.
Thank you again, sir.

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

Thank you.

All right, judges,
let's get started on this.

What are your thoughts on Sergio?

I really think that Sergio lacked

use of imagination on this photo.

He could have used
the six hours of painting

a better way than
just making somebody

dark skinned, you know, darker.

I'm underwhelmed by
Sergio's performance again.

He needs to work on his skills more.

What are your thoughts on Conor?

With the coloring,
it just got muddy.

Whatever it was he was trying to do, got
lost. He didn't have enough contrast.

He over painted, basically.

I would have been a lot happier

if he would have told me
that he wasn't happy with it,

- and that the colors just got away from him.
- Yeah, you're right.

And what are your thoughts on Tate?

I see where Tate was going with it,

but I think he kind of...
It didn't happen for him.

This image looks like
he got cornered into

this stomach piece
and forgot the big picture.

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

- Yes.
- We did.

Yes, we did.

All right, judges.
Who is going home tonight?

All right, guys.
The judges have made their decision.

Well, Tate, I think
it got lost on you.

I think you concentrated
on the details

without stepping back and taking
a look at the whole thing.

Serge, with the time that you had,

we don't feel like
you did very much.

Conor, as you know,
we felt that the colors were very muddy,

and I don't feel like you
expressed your idea very well.

All right, judges.
Who is going home tonight?

The person that's
going home tonight is...

Sergio.

Thanks a lot.

Honor being with you guys.

Thank you.

If I may, I just want
to say thank you, guys,

very much for your input.

I definitely enjoyed
this whole process and all

but this isn't a school.
You know, it's a competition.

Group hug.

Bye-bye, man.

It's been a pleasure.

- See ya later.
- Bye, bro.

Sergio:
I didn't win the competition,

but I'm leaving with
tons of new friends,

a lot of things that are way
more valuable than $100,000.