All language subtitles for Face Off 5x04 Subterranean Terror-eng

Previously on Face Off...

Miranda's pumpkin brought
her her second win.

It's one of the best make-ups
we've ever seen on the show.

Thank you guys so much.

And in a shocking double elimination
Rick and Eric were sent home.

Now 12 artists remain.

And tonight, they'll go to
unexpected depths

in their first individual challenge.

- Feels kinda creepy.
- Spider webs everywhere.

I'm completely flipping out.

And some will crack
under the pressure.

Ah, fuck!

I don't know what I'm gonna do.

Maybe I need to just
scrap this whole thing.

Awesome!

It was a great design,
a mature and professional paint job.

I didn't get why
it looked like that.

Bad, RJ.

It's a really good piece,
but what it's killing it is the paint.

In the end, one
will win a VIP trip

from Kryolan Professional Make-Up
to one of their 85 international locations,

a 2013 Fiat 500

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

Good morning.

Congrats.
That was impressive.

Thank you, guys.

Maybe not everybody takes it
as hard as I did,

but being in the bottom
last week

was absolute emotional torture.

I know I have it in me somewhere
to do this.

I'm just going to have to dig
a little deeper.

_

- This is dangerous.
- Building's pretty cool.

What is it?
Electricity?

We see this building.

This looks like
it ought to be cool.

Welcome to the Glendale
utility substation.

This massive structure was once
a bustling power station.

- That's awesome.
- I brought you here today

not for what you see
around you...

but what's actually
beneath your feet.

It's a network of
abandoned tunnels.

Oh, yeah.

Hollywood has made a long
tradition out of exploring

humanoid cultures that live
beneath our own,

going all the way back to HG
Wells's The Time Machine,

C.H.U.D., and The Descent.

So for your first individual
spotlight challenge,

you will each create

a subterranean creature
of your own.

Oh, no!

That's really cool.

Now you see the stairs
over there?

They lead to the tunnels
that I mentioned before.

Down there, you will find
six unique areas,

each containing evidence of
a mysterious creature.

Now, it's up to you to
interpret what you find there

and create the beast

that might have once inhabited
these underground lairs.

_

Before I send you down
to the tunnels,

I'd like to introduce you
to a very special guest.

He's a concept artist
and master sculptor

whose creative vision
has helped shape movies

like Avatar,

The Chronicles Of Narnia
Prince Caspian,

Alien Resurrection,

and Hellboy.

- [Gasps]
- Please give a warm welcome

to Jordu Schell.

I'm completely flipping out
because Jordu's my hero.

Jordu, thank you so much
for being here.

It's nice to be here.

So, Jordu, we are dealing with
subterranean creatures.

How can the underground habitat
influence those designs?

They're probably
going to be very pale.

They don't see
a lot of sunlight.

They may be eyeless,
like moles,

so use your considerable
imaginations,

which I know you all have,

of things
that dwell underground.

All right,
so you will be joining us

on the elimination stage.

What are you going to be looking
for from these guys?

I think that believability
in your characters

is the most important aspect

when you're trying to convince
the audience

that what they're seeing
is real,

and if it doesn't look that way,

it's not going to work.

Okay, guys, it's time for you
to descend into the darkness.

Oh, my God!

Good luck down there.

It feels kind of creepy,

and it's completely
in the dark.

Everybody's trying to
figure out where to go.

- Spider webs everywhere!
- This is so cool.

I walk a little deeper
in this amazing room

that is surrounded by kelp
and moss and cargo crates.

It was super-inspiring.
I'm so into this, Tate.

Yeah, right?
There's something freaky

- about this room.
- Yeah, I like it.

I want to try to push myself
on this,

'cause it's the first
individual challenge.

My concept is
this mermaid-esque creature

that purposefully goes into
the nets of fishermen

to capture the men,
use them to her liking,

so I'm thinking creepy-sexy.

I start sketching,

and I definitely want to do
something sea-life-meets-human,

inspired by crustacean or,
like, shrimp, lobster...

Our people could mate.

Oh, yeah.

I chose the room that has
what looks like tentacle marks

all over it.
My concept is

to have a creature
that's part worm, part octopus.

My idea is to have my actor
on his hands and knees.

I'm going to try to make like
the tentacles are moving,

which is difficult to do,

so I'll make it as believable
as I possibly can.

This is going to be a fun one.

There's
a lot of goodies in here.

I just see this as, like,
activated by the blacklight.

So I saw the bones and the
blood and the toxic material.

It looked really
interesting to me.

I come up with the idea of
adding mandibles to my character

because it would use
its mandibles to guide itself

through these
underground catacombs.

This is the room
with chains on the wall

and an electrical panel.

It's a creature that was
probably kept captive.

It's our first
individual challenge.

[Mouthing]
Yes!

For the first time,

I have a chance to show
what my skills are,

so I start drawing out shapes.

Through evolution,
its eyes have gone away.

Teeth come out of its mouth
and just flow down its body.

He broke his chains.
I mean, honestly, this thing--

Well, I guess the electricity
just make him stronger.

- Yeah, maybe.
- Rip the chains off him,

and he escape.

First thing I see
is a door that is broken down,

and then I think
if this got closed off

and people got trapped
down here, what would they eat?

- I love this room.
- Yeah, me, too.

Maybe humans ate cockroaches
or cockroaches ate the humans.

So I want to do
a female character

with different little wounds
all over her body

where the cockroaches will be
living and biting on her.

- I'm really excited to see yours.
- I know.

Really,
we just have two clues--

- claws and some feet.
- Yeah.

The area I'm in kind of looks
like a subway station,

and that gets me thinking
about rats.

So I decide that I'm going to do
a naked mole-rat,

and its society is warring with
another subterranean society,

and the captive chained to
the wall was a prisoner of war.

Definitely a work in progress
at this point.

- Come on, mama.
- Watch your head.

Back in the lab,
we've got 5 1/2 hours to work,

so we choose our models
and start working immediately.

The first thing I do,
I just start sculpting this cowl

and just let the clay
speak to me.

My room, it has, like, broken
chains and electric panels.

So my concept is this prisoner
that was sentenced to death,

so they electrocuted him,
but nobody knew

he was going to be immune
to electricity,

so it made him stronger.

Perfect.
I want to start working

on the back of my sculpture,

so I used reference
of Alana's back.

God, you have gorgeous bones.

I'm giving her
a very big hunchback,

big shoulder blades
popping out.

I really like that shape.

I love how it's turning out.

My clue is a dusty footprint

and three scratches
down the wall.

So I decide I want to take

different aspects
of different creatures.

So I go with the ears of a bat
and the nose of a mole

and combine them
with an armadillo

because it's something
that would be

digging through the ground.

Because I combined
so many things,

I want to find something
that inspires me.

Let me know if you see
a mole anywhere.

I saw a mole in here.

- You saw one?
- Yeah.

This mole-rat
that I have in my mind

could have been mutated
from the chemicals

leaking down into the soil,

and the fact that there's hair
all around in my room,

maybe he's losing his hair.

This is my first individual
challenge ever on Face Off,

and I'm excited to finally
get to really just show

what I can do.
You're doing a mole also?

- Yeah.
- You are?

There aren't many creatures
that live underground, though.

RJ and Laura both have ideas
to do mole characters as well.

Awesome.

Now that I know everybody's
doing a naked mole-rat,

I don't really know what to do.

They both made it all the way
to the finals,

so now I feel like we're kind of
in direct competition.

That's not really a place
that I want to be.

We'll all just have to be
really creative

with our overall design.

_

_

Maybe I need to just scrap
this whole thing and start over.

- Coming up...
- I have to risk it.

Ah, fuck!
Think, think, think!

[Groans] This is definitely
an "Oh, crap" moment.

This has never happened before.

I love this make-up.

It's just too messy for me
this week.

I want to take a survey

of how many people
are doing freaking moles.

RJ and Laura both have ideas to
do mole characters as well,

which makes me
a little bit nervous,

but I have a pretty clear design

that I've had since the second
that I stepped into my room,

and I don't want to
change that.

Hopefully,
my mole-rat is the best.

Frank, are you doing
a naked mole-rat?

- No.
- Okay, thank God!

Roy's building
a full-size octopus.

You gonna take down
the Nautilus with that?

- I can take down you.
- [Laughs]

That is fucking awesome.

- Hey, guys!
- Hi, everybody!

- Hi!
- Hey, how's it going, guys?

- We're here for a walk-through.
- My favorite part of the day.

I went to this scene where
there was toxic fluid

and structures
that had been bitten.

I want it to be a scientist
that had an accident,

and then mutated into
this creature.

I want teeth in his real mouth

and then have another layer
of teeth on top of it.

I would do away with
the lower lip

so he has no lips,
as opposed to, you know...

- Okay.
- ...seeing too much human there.

I found a room
that had tentacle marks

all over the walls,
so I'm thinking

an octopus-human hybrid
in mid-transition.

I'd add a little more beef
to the neck here.

- Okay.
- It's a common mistake

- a lot of people make...
- Yeah.

Is not making the sculptures
thick enough,

and then there's nothing there
to really run.

- Hi, Eddie.
- Hey, guys.

During the last challenge,

Michael Westmore's advice
really saved Scott and me,

so anytime Mr. Westmore
comes by and says something,

we're definitely going
to figure out a way

to interpret that
into our make-up.

The rats, when you see them,
you know,

that head and the whole body
all connect all the way through.

So go more with
what we've got here

with the rat folds coming
all the way up to the cranium?

Yeah.

I'm just nervous,
especially after

the last spotlight challenge.

I just don't want to be
a bottom look again.

- Roy! What are you doing?
- What are you doing?

Sort of an evolved octopus,

so, like, the arms will fit in
here, and the legs in there,

and these here will actually
move along with it

so it looks like
the tentacles are moving.

You know what helps
with a mold this big?

You get a couple of 2x4 boards
and literally getting down,

trying to get them
on the level thing,

because when you
turn this thing over,

the mold isn't going to rock,
you can work on it,

- and it'll be really easy.
- Okay, cool.

- I can't wait to see this.
- Yeah.

- Good luck, Roy.
- Good luck, Roy.

Thank you.

All right, guys,
we're heading out.

- Good luck.
- Thank you!

- See you later.
- Thanks, guys! - Bye-bye.

- Appreciate it.
- Thank you.

Are you going to mold
that thing?

No, I'm going to
let the model wear clay.

[Laughing]

I've still got an hour before
the end of the day,

so I'm definitely going to get
this thing molded today.

Oh, my gosh,
that's going to be so big.

That's what she said.

It's starting to set up,

so I know that I can come in
first thing in the morning

and clean it out.

There's exactly one hour left!

My mold looks good,

but it doesn't seem like
the plaster is completely set.

I have to risk it.
I need to finish the mold today,

'cause I'm working on my own,
so time is really important right now.

[Grunts]
Fuck!

As I am opening it, it cracks.

Fuck!

Think, think, think, think...

I start pouring plaster on top
of the mold,

but time's running out.

That is time!
Let's go!

¡Vámonos!

Damn!
The only thing I can do

is hope that tomorrow,
when I come back,

this is going to be okay
when I take it apart.

I have never felt this nervous.

Whoo!

It's the second day of our
subterranean creature challenge,

and we have 9 1/2 hours left
in the lab.

The first thing I do
is check the crack.

It's still there,
but it seems fine.

It's not going to be a seam
on my prosthetic,

so adding that extra layer of
plaster really helped.

Eddie, Tate, Frank,

can I get you guys to help me
for a second?

If we can take this
and sort of just roll it over,

that would be fantastic.

There's easily 400
pounds of mud

surrounded by 100 pounds of
concrete on this table,

and I got to get this mold
off the table

so I can get it cleaned out.

- Oh, you got your end?
- I got it.

[Thunk]
Aw!

Holy shit!

Okay, good.
Just take it on the floor.

At least we can go canoeing
after all this is over, right?

[Laughter]
Yeah.

The next thing is to take it
out and wash it out

and start throwing latex
into it.

What the hell was I thinking?

Those are going to be
venom sacs and, like,

that's what the shell is for,
to protect those sacs.

I'm taking a lot of inspiration

from a bunch of different
subterranean creatures.

I'm hoping that the judges can
see that it's an amalgam,

not a big mess.

I'm sculpting out
five different sizes

of little tentacles,

and I'm going to deposit inside
the pros-aide transfer.

Pros-aide is a liquid glue.

It's almost like gelatin
or silicon

but it's already sticky
and can be applied very easily.

This mold's taking me longer
than my sculpture did.

This is a difficult mold to make

because there is so much bend
and movement to it.

I need to divide it
down the middle

and follow this bend.

Plus, the tips of this fin
are paper-thin,

so I really need to be careful
not to bend my sculpture.

Once I get it cleaned out,

it's time to start applying
the poly foam,

so I mix big batches of it
and pour it into my mold.

That's stiff foam, though.

And then I realize,

well, this is stiffer
than what it should be.

Yeah, this one was a lot harder

than what I thought
it was going to be.

I thought it was a softer foam,
but it's a rigid foam.

There's two types of A/B foam.

Soft foam is like squishing
a loaf of bread.

Rigid foam is like squeezing
a brick.

[Groans]

This is definitely
an "Oh, crap" moment.

There's no way
to get this thing out.

I start pulling on it.

There's no way.

I built this entire concept
around these tentacles.

Shit.

I don't know
what I'm going to do.

My entire piece
was swinging on this,

so I might as well go home
and pack now.

So it's day two of
our subterranean challenge,

and I can't get
this rigid foam out.

I start pulling on it.
Nothing.

Then I grab a couple of chisels
and a mallet

and start trying to
chip it away

so I can at least get
another run at the mold...

but I realize it's going
to take me three hours

to clean this out, and with
four hours left in the day,

I don't have the time.

There's no way
I can use this mold.

I decide to scrap
the entire piece.

It's 90% of the creature.

I mean, that's what
the bulk of it was

was the tentacles,
and now they're gone.

- How'd it come out?
- It didn't.

Oh, it didn't?

- Oh, fucking shit!
- Okay.

I at least have a face piece
that I had already sculpted out,

so I'm not without anything...

but it ain't much better
than having nothing.

Miranda's going to
stick with mole,

so I'm going to go
more rat with mine.

For the tail I use a pool noodle

and shave it down,

and then I spray glue
all over it

so it maintains its rat-like,
disgusting shape.

So my new concept
is the evolution of a squid.

I can build an octopus
and also make a squid head.

I could fabricate that
pretty quick.

Right now, I'm just throwing
things on a mannequin

to see what works
and what doesn't.

Just so long as
I have something.

I don't want to just have
a head on a robe.

Hey, guys, one hour!

People are about done
for the day.

I have all my molds
and everything ready to go,

so I feel like I'm going to be
in pretty good shape

for tomorrow.

This has never happened before.

Everybody's feeling pretty good
and rockin',

except for Roy.

Hey, guys, it's time!

By the end of the day,

I have some semblance of
a chest piece

and a couple of tentacle arms.

I've also got
the base coat on it.

I just hope
they don't send me home.

Good day.

I'm starting out
with a piece of crap

and putting more crap on,

so this is going to be, like,
a really big crap sandwich.

Good luck, everybody!

So, application day.

We got four hours in the lab

and then an hour of last looks,
and my priority is paint.

Hey, Alana, you want to see
what a seam looks like?

Yeah, I already know.

I'm going to go in here

and work on this piece
in here real quick

and see if this is
going to work.

I'm frantic.

I want to get the cowl
finished first,

so I've sculpted out
a quick squid tail.

I cut a piece of L200 and put it
on the vacuform machine,

and it actually works.

I can't believe it.

Maybe my luck's changing
a little bit.

Oh, that's a bad tear.

Oh, was it not supposed to
be open?

No.

There's a problem with my cowl.

There's a big tear that goes
all the way through.

I have about a 1/2 gap,

so I'm going to have to patch
that somehow.

So I've got
a premade prosthetic piece

that fits pretty well
over that tear,

and it looks like
a badly stitched wound.

I just want to spend
as much time as I can

painting you today.

Hmm?

Nice!

Alana, doesn't she look like

she could be Gollum's
girlfriend?

- Yes.
- So I have all my pieces down,

and I'm feeling pretty good.

But I still have to get
cockroaches

in my creature's wounds.

If you could lean back
just a little bit-- there we go.

Since my character's supposed
to be electrocuted,

I want to give him
this burnt look,

so I'm trying to come up with
this warm flesh tone.

But as soon as I start
painting him,

it's-- I--
it's orange.

You know what you should do
after you put those veins on?

Go back over with your face
color and stipple it

so it makes it look like
it's under the skin.

[Both laughing]
Where am I?

Okay, now comes the fun part.

When you're painting,
you need to have areas

for your eyes to settle,

areas for your eyes
to be drawn to...

So I'm trying to add little
details here and there

but still keep an overall
cohesive paint job.

That paint job's
looking good, man.

Thanks, Tate.

Please, get up a little bit?

I really want this creature to
look like a naked mole-rat,

but that has a lot of pinks,

and I've never really done that
kind of a paint job before.

Now just hold still.

I need to pull it all together
and then, hopefully,

it won't end up looking like
this big, pink thing.

30 minutes, everybody!

I don't think I've ever worked
this hard, this fast.

From the chin up,
it's almost passable.

Anything from the chin down,
train wreck.

I'm hoping that, if I can put
a decent paint job on it,

that'll save it.

Time, everybody!

That's time!
Let's go!

That's it, guys.

I'm not feeling really happy
about this pumpkin head,

but I still have one hour
to come up with a plan.

I'm feeling pretty nervous
right now.

Coming up...

You've made a ton of
intelligent design choices

- this week.
- This is one of my favorites.

I think you damaged the whole
thing with your paint job.

Good luck, everyone!

Where is that rat?

Hey, where's my rat?

I still have
a lot of work to do,

and one hour
is not a lot of time.

I start embedding all
the cockroaches in her wounds.

Now she doesn't look like
a mask anymore.

She looks like a creature.

I've been trying the best
I can to salvage this make-up.

Actually, let's put
your wardrobe around here.

I'll just step around you.

There's duct tape and pins
holding this thing together.

It's a mess.

- Time's up!
- We got it all done!

I know I'm on the bottom.

It's just how far
on the bottom am I?

Welcome to theFace Off
reveal stage.

Tonight, one of you
will be eliminated.

First, let's say hello
to our talented judges--

owner of Optic Nerve Make-Up
Effects Studio Glenn Hetrick.

- Good evening.
- Hi, Glenn.

Three-time Oscar-winning
make-up artist Ve Neill.

- Hi, everybody.
- Hi, Ve.

Creature and concept designer
Neville Page.

- Hi, guys.
- Hi, Neville.

And please say hello again
to Jordu Schell.

[Applause]

Well, I'm very delighted
to be here,

and I'm excited to see
what I'm going to see.

Gonna be exciting.

All right, guys, so this week,

I gave you your first individual
spotlight challenge,

to use the clues
you found underground

to create your very own
subterranean creature.

Now, while we check out
your work,

the audience at home
will be tweeting

about which ones
are their favorites,

using #FaceOff.

Let's see how your creations
turned out.

From a profile,

I'm really happy with
how the face turned out,

but I'm unsure as to how
this make-up looks straight on.

I hope the judges see
my creature from the silhouette

because I think that's where
the piece is the strongest.

I'm happy with my edges,
even with my bad tear.

It's just going to depend now on
when the judges see it up close

they like it or not.

Proportion-wise, he actually
doesn't look that bad.

He has a really cool silhouette,
but he's orange.

Looks pretty bad-ass.

He's got a great silhouette.

I think I nailed the skin tone.

I did about as good as I can.

He looks awesome.

Everything came together.

Even though I'm excited about
my make-up,

they could all hate it,

and I just hope that
that's not the case.

After the last critique I got,

I have no idea what the judges
are looking for,

so I could be top or bottom
at this point.

Who knows?

When my background comes up

and those green saturates
hit my creature,

I'm 100% happy.

He looks like I took a Ferengi
and mated it with an artichoke.

I didn't see that at all
until the lights hit him.

Bad RJ! Bad!

I think I did a good job,

and I am proud of what
I've done by myself

in this challenge.

My creature's
not sculpturally amazing,

but I feel like my overall
concept is completely original.

This is definitely
the worst piece I've ever done,

and there ain't a doubt
in my mind I'm in bottom looks.

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

Really furrow your brow.

I want to see
how the top of it looks.

- Yeah, it's not bad.
- You know what's neat?

The fact that this flexes
and this doesn't.

- Weird.
- I think he kind of

wiped out a lot of his sculpting
by the poor paint job.

It feels a little fruity
pebble coloration.

Okay.

Oh, boy, the painting
is so bad.

It looks like a Halloween mask.

I know that my creature's
very, very orange,

so do they like it?
Do they hate it?

The paint work is just doing
this thing a disservice.

I'm stressing out.
I can't even look.

I don't want to go home.

Who made your favorite
subterranean creature?

Tell us on Twitter
using #FaceOff.

I am completely nervous.
I don't know what to think.

You never know what they're
looking for.

I don't understand
what these are

and why are they painted
so haphazardly?

- Let's see it move.
- Moves really well.

That is really bitchin'.

Wow!

I love this whole thing
coming up.

Yeah, it's a beautiful
design element.

This is really,
really gorgeous.

I'm afraid to get bit.

Ow!

- That paint is killing me.
- Yeah.

It's kind of a nice profile,
though.

_

- Good God almighty.
- What is that?

What happened here?

I don't even want to look.
I mean, if I could get away with

just walking offstage,
I would prefer that.

So the judges have scored
your creations.

Let's find out
what they thought.

Frank,

Scott,

Roy,

Laura,

Adolfo,

Miranda,

you are the best and the worst
this week.

The rest of you are safe and can
head back to the make-up room.

Thank you, guys.

The judges would like to speak
with each of you

to learn more about your work.

Frank, you're up first.

Tell us about your concept

and what clues you took
from the subterranean room.

In the room, there was
some broken shackles.

I assumed
that he was a prisoner.

Then through evolution,
its eyes have gone away.

You've made a ton of
intelligent design choices

this week.

The fact that the eyes went away
through evolution is brilliant.

- Beautifully done.
- Thank you.

I love the fingernails,
the claws.

I think you did a really nice
job this week, Frank.

The airbrush work that you did
looks so good.

It just feels like
he's an underground creature.

It could use a little more
color around the mouth,

- something to really draw your attention,
- Sure.

...but this is one of my favorites.

Thank you.

- Frank, you can head back.
- Thanks, pal.

Yeah!

Scott, you're next.

Tell us about your concept
and what clues you took

from your scene
to create your character.

In my particular room, there
were octopus tentacle marks

all over the walls,
and the first thing that hit me

was using half-hybrids
with humans and octopus.

I really didn't get
what all this was

and why it looked like that.

It's just too messy
for me this week.

- Okay.
- There's things about this

that are really cool
as a concept goes.

It's a good-looking piece,

but what's killing it is
really the paint.

I have a problem with
these bright spots on the head

that look like fruit cereal,
which just don't work.

Okay.

Scott, please step down.

Miranda?

Tell us about the concept.

When I walked into my scene,

the first things that I noticed
were claw marks on the wall

and hair.

That made me think
mole creature.

The wrinkling,

particularly in the face...

is pretty spectacular.

It's so natural and organic,

and that's just a testament
to your skills as a sculptor.

Thank you so much, Neville.

I like the paint job.

It's very subtle, and I think
you did an amazing job.

The neck and the head are
completely convincing to me.

Overall, you knocked me out
on this.

Thank you so much, Jordu.

You can step back.

Adolfo.

Tell me about
what clues you found

in your underground chamber.

I found broken chains,
so I came up with this prisoner

that was supposed to be
electrocuted,

but he actually got deformed
and more powerful.

The sculpture just is not real.

It looks very masky to me.

Orange is one of those colors
that you would never see

in a space that doesn't have
any light in it,

and this has a pumpkin head,
it's so orange.

The sculpture
is extremely rudimentary.

It lacks the forms
that tell its story.

You sculpted a mask,

and you painted black
around the guy's head,

and that's not good enough.

Adolfo, you can head back.

Roy, please step up.

Tell us about your character.

The room that I had had
tentacle markings on the wall,

but this was not
my original concept.

I made the mistake of grabbing
rigid foam instead of soft foam,

so I obliterated
the whole thing.

The plan was for it to have,
like, octopus legs,

and the actor was going
to walk on all fours.

That sounds pretty cool.

This isn't.

I'm not happy with your work
this week, Roy.

It's hard to polish a turd.
It really is.

[Laughter]
You said it.

Yes, sir, I sure did.

But the fact is we have to
judge you for this.

There's a couple things
I do like.

There's some great lines
that flow from the nasal beak.

Roy, you can step back.

Thank you, buddy.

Laura, you're up next.

Can you tell us about
your concept?

My scene had scratches
on the wall.

It also had chains
and some footprints.

She's a prisoner, and they
chained her to the wall

in hopes of getting
some ransom.

She's very unique
and really cool looking.

My one comment is the fact that

she's supposed to be underground
for so long--

she looks a little pink to me.

But all in all, I think she's
a very cool character tonight.

Thank you.

I think
this thing is fantastic,

and I love the way that
the hands seem really big.

That's super-creepy.

Thank you.

I love this make-up.

The way that the face is down
here and the head is back here,

I think that's absolutely
brilliant.

Thank you.

Laura, will you please
step down?

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

If you'd please head back
to the make-up room

while they deliberate.

All right, guys,
so let's start with

the looks you like the most.
Why don't we start with Frank?

There's rational logic to
the decisions he made,

and also layers of paint

is something I've been asking
for forever.

We have something that
your eye goes right to,

and that is the focal point
of your design.

For me, that is design,
and Frank's had that.

All right,
let's move on to Miranda.

She blows me away.

When you looked at it
from far away, it worked,

when you looked at it up close,
it worked,

and the head was perfectly
proportioned

to the rest of the body.

All right,
let's move on to Laura.

A ton of brilliant decisions.

I thought how high
she made that forehead

and it made the face look
kind of smooshed,

but not too much--
didn't go too far out.

The way that she created
the claws was really effective.

Now let's talk about
some of the looks

you didn't like so much.
Why don't we start with Scott?

The design had no cohesion.
It had stuff just stuck on.

Yeah. It just was
not obvious what it was.

And the paint job
was not acceptable.

All right,
let's move on to Adolfo.

I loathe this make-up.

He sculpted a mask.

But it was really
well-proportioned.

But the head ruins that,
because it is so mask-like,

and the paint job is so...

Orange?

It just didn't look right.

Let's talk about Roy.

Oh, boy.

I don't know why he tried
to do so much.

I would rather have seen
just a great head...

Me, too.

...instead of that godawful
construction on the arms.

Just focus on giving me
a brilliant make-up.

All right, judges, have you
made your decisions?

We have.

Let's bring them out.

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

Frank, we thought your
sculpting was very strong.

Your paint job made it
a really outstanding piece.

Miranda,
you did a fantastic job,

using reference
and your own imagination

to create a very
believable character.

Laura, this was one of
those creatures

where we knew a lot about her
right away.

She was, therefore,
quite convincing.

All right, Glenn, who is
the winner of this challenge?

The winner of tonight's
challenge is...

All right, Glenn, who is
the winner of this challenge?

The winner of tonight's
challenge is...

Miranda.

Thank you guys so much.

I can't believe it.

Your creature worked
on every level.

It was a great design
and incredible sculpting

and a truly professional
paint job.

Well done.

I've won three
out of four challenges.

I'm really proud of myself,

and I just hope
I can keep it up.

Congratulations.

You, Frank, and Laura can head
back to the make-up room.

Thank you, guys.

Unfortunately,
that means the rest of you

are on the bottom this week,

and one of you
will be eliminated.

Please step forward.

Glenn, tell us about
the bottom looks.

Adolfo, it looked like your
character was wearing a mask,

and the color
that you painted him

just did not read subterranean.

Roy, we realize that you had
a catastrophic failure

in the lab this week,
but we have to judge you

based on what you put
in front of us,

and this week,
it wasn't very good.

Scott, we felt that you really
could have pushed your design

and your sculpture much further,

but ultimately,
it was the poor paint job

that sunk you this week.

So who's going home tonight?

The person going home
tonight is...

Adolfo.

There were a lot of choices here
that just didn't work,

and we ultimately couldn't get
past the mask factor.

It's been amazing.

I'm just blessed to be here.

Adolfo, I'm so sorry,
but you've been eliminated.

Scott, Roy,
you're safe this week

and can head back
to the make-up room.

What's so important is that
you go forth from this

and continue to stay creative.

Thank you so much.

Good luck.

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

If you'd please head back
to the make-up room

and pack up your kit.

- Good luck.
- Good luck.

I wish I was able to develop
the character

a little bit better.

However, I worked really hard,

and I need to be proud of that.

- Good-bye.
- No!

Hey...

It is super-hard to get in
this competition,

but this is just the beginning
for me,

and I'm going to work as hard
as possible to make it.

I'm not going to stop
until I get to the level

that I really want to be.

I just can't wait
to go back to work

and share everything I learned.

Sync and corrections by n17t01
www.addic7ed.com