All language subtitles for Face Off - 2x06 - Triple Threat.HDTV.en

Previously on Face Off...

The artists were asked
to create something

beautiful but deadly...

Oh, my gosh.

On the stage, sparks flew.

Shameful.

I did take heavy
direction from Sue.

That's really [Bleep]

that you're throwing her
under the bus,

'cause you have immunity.

RJ claimed his first victory...

And Athena was sent home.

Now, nine artists remain,
and tonight...

We are not quite done yet.

Oh, hell, she's gonna
cut somebody else.

They'll face their
toughest challenge yet.

I've got a little something
to tell you

about your models.
What?

How much more difficult
could this possibly be?

- And the pressure rises
to an all-time high.

I think we need
to take their teeth casts,

and I think we can
discuss this afterwards.

I just don't like her attitude.

It's vengeance time.

I'm kind of disappointed.

It just looked bad.

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

our award-winning
panel of judges.

Ve Neill, three-time
Oscar-winning makeup artist

whose work includes
Beetlejuice,

and this summer's
The Amazing Spiderman.

Patrick Tatopoulos,

production designer
on this summer's Total Recall

and director of Underworld,
Rise Of The Lycans.

And Glenn Hetrick,
cutting-edge makeup artist

on The Hunger Games

and custom designer
for Lady Gaga.

Who will be the next great
name in movie magic

and earn $25,000 in makeup
supplies from Alcone,

the reinvented 2012
Toyota Camry hybrid,

and $100,000?

Everyone's a little bummed
about Athena leaving,

and it's been a long day.

We are all tired.

We want to go home
and go to bed...

Hey, guys.

And in walks McKenzie.

We are not quite done yet.

- Ooh.
- What?

I'm thinking, oh, hell,
she's gonna cut somebody else.

Please come with me.

- Oh, snap.
- It's ridiculous.

I don't know what to expect,
but this is what we're here for.

I realize it's been a long day,

but this is a tough business
with crazy hours,

so your next
foundation challenge

actually starts right now.

Crap, we're all exhausted,

and our creative, artistic
juices are just not flowing.

Let's get to it.

A group of amazon, tall,
thin women walk out.

This is awesome,

because I've been
wanting to do beauty makeup.

All the boys are getting sweaty
and clammed out.

Your foundation challenge

is to transform these
beautiful runway models

into unremarkable plain Janes.

Thank God we're not doing
beauty makeup.

I'm not too good at it.

Makeup artists are sometimes
asked to tone down

or completely mask the beauty
of a Hollywood starlet.

Some good examples
are Nicole Kidman in The Hours,

Mariah Carey in Precious,

Cameron Diaz
in Being John Malkovich,

Charlize Theron in Monster.

So in other words,
you're gonna need to do

a complete head-to-toe
make-under.

A make-under.

Now we have a special guest
judge here today

to give you some advice.

She was the department head
on huge movies

such as Terminator Salvation,

Superbad,

and she's most well known
for the great make-under

that she did on Drew Barrymore

for the film Never Been Kissed.

Please welcome Kim Greene.

- Kim.
- Hi.

- Kim Greene is a really
well-known makeup artist

in this industry, so I'm excited
for the challenge.

So, Kim, what does it take to
make a successful make-under?

Well, first of all, you need
to know your character.

Really think about
who they are,

where they came from,
their mental state.

Also, be subtle.

If you add a pimple, don't
make it, like, ridiculous.

This is great, because I have
a lot of experience on set,

so I'm really good at making
certain types of girls

look like crap.

Okay, the winner of this
week's foundation challenge

will win immunity
and cannot be eliminated.

Your models have been
randomly selected for you.

You have two hours
for this challenge.

Good luck, because
your time starts now.

The first thing I do
is run into the back room,

check the wardrobe,
then grab a wig

and decide what look
I want to go for.

- My name is Beki.
- Hi. Alison.

I think I'm gonna go,
like, working girl, you know.

I'm using old-age stipple,

which is this latex formula
that allows you

to use that person's skin
in the forms of their face.

It makes all those
fine skin wrinkles heavier,

so it ages the person
beautifully.

You'll like looking ugly.
It's gonna be awesome.

Yay.

After what happened today,
I really want to win this.

I want that immunity so I'll
never feel that unsafe again.

This is gonna be fun.

I have a personal style
that I like to stick to,

so I start thinking of doing
more of a heroin-chic look.

I brought in some,
like, acne scarring

under the cheekbones and, uh,
got rid of her eyebrows.

All right, everybody.
This is your 30 minute mark.

Time's up.
Brushes down.

- Hi, Sue.
- Hello.

Tell us about your work today.

When I first met my model,
she was very young,

had no wrinkles,
very beautiful,

and had a great nose,

so I gave her some old-age
stipple here, here,

and on the nasal labia.

I'm not really sure
what this is on her nose.

It's a broken nose,
almost really thick.

- Okay.
- So I exaggerated it.

Good thinking.
That gives me a back story.

Great.

This is a librarian, and
she's so much into her work

that she's always sick.

She's got book residue.

You get those brown smudges
on your fingers.

I love that you thought
through her character,

I love that you kept her
totally thin,

and that really helps her
look sick.

She's a small-town girl,
and she came to LA

to be an actress.

Didn't quite make it,
and now she's a prostitute.

She stands on the corner,
so we've got lots of sunspots

and basic nail polish.

That looks great.
Is this a bruise?

That's a bruise, and I did
slight veining there.

- That's really great.
- Excellent. Thank you.

I started with some
subtle shadowing around the eyes

and nasal labial areas,
and, along the way,

she kind of turned into

a gross character of my mother
from 1989.

I don't know.

She is
a drug addict/prostitute.

- Really?
- Who would have thought?

I added the dry, cracked lips.

She also has a tattoo
that says "trust me."

Where does that come from?

She's constantly lying,

but she doesn't want to believe
that that's who she is.

I love the thought process
behind the makeup.

Thank you.

All right, Kim, so how
did they do overall?

You guys did great.

I'm really impressed by the
stress that you're put under

and that you handle it
so beautifully.

Who were our more successful
makeups today?

Jerry, I loved the detail
in the nails

and the "trust me" tattoo
was a nice little touch.

Rayce, the newsprint
on her hands

and the capillaries
being broken--

Wonderful, subtle work.

Thank you so much.

- Ian, you did a great job.
- Thank you.

I think the texture work
was really good.

You did really bad makeup
in a really good way.

- Thank you.
- All right, Kim.

Who is our winner today?

Rayce.

Oh. Holy cow.

- Good job.
- Thank-- thank you so much.

Rayce, congratulations,
you have won immunity

and cannot be eliminated

from this week's
spotlight challenge.

- Fantastic.
- All right.

I will see you all tomorrow.

- Thank you.
- Have a good night.

The immunity feels good.

I got the top look, and I'm
feeling good about that.

We woke up today,
and Athena's not here.

She's usually always awake,
cooking breakfast,

and, like, always a smile
on her face.

I think everyone's
really missing her.

I think Beki
should have went home,

but since she had immunity,
it saved her ass.

Don't even get me started
with that.

The judges gave us
some negative criticisms,

and then she throws me
under the bus.

When Beki and Sue came onstage,

you just saw Glenn
cover his face.

I know. I didn't think Beki
was gonna do that.

Yeah. It might hurt her
in the later challenges.

The one thing we can't do is
throw anyone under the bus.

It's vengeance time,
and it's getting real now.

So we walk into the lab,
and McKenzie's there, as usual,

and it's pretty sparse today.

No-- no crazy animals.
No naked people.

Some makeups allow for
a certain margin of error,

but today you will face
your toughest challenge yet.

Your spotlight challenge
is all about old-age makeup.

Old-age makeups require
very subtle techniques

and understanding how
the face and body moves.

It's one of the hardest makeups

because there is
no room for error.

So before I tell you more,
I need you

to divide yourselves
into three teams of three.

Oh.

Heather.

I hear someone calling
my name, and it's-- it's Sue.

Is this cool?

I turn around to Beki, and
with a pleading look in my eyes,

like, like, please,
please pick me.

Sorry, Sue.

So the teams are Beki,
RJ, and Heather.

Word.

Tara, Sue, and Matt.

I'm nervous because
I have noticed

that drama follows each
partnership Sue has.

And we've got Jerry,
Ian, and Rayce.

I couldn't ask for
better teammates.

This is a slam dunk
unless we screw it up.

Although this is
a team challenge,

you will be judged
on your individual work.

Now let me introduce you
to your new models.

- Whoa.
- Holy cow.

We get into the lab today,

and we find out
our next spotlight challenge

is old-age makeup, but
McKenzie has a surprise.

Now let me introduce you
to your new models.

- Whoa.
- Holy cow.

Ooh.

- Meet your twins-- The Greens,
the Tindals, and the Hornbecks.

- Hello.
- Hi.

Now each team will select
a set of twins.

You're gonna have to age
one of them to 75

and the other one to
the ripe old age of 100.

Oh, cool.

So basically, your makeup

should appear to be
the same person,

but at different stage
of their life.

Holy Moses. This is
going to be so hard.

All right, so we've
predetermined the order

in which your team will pick.

Sue, Tara, Matt,
you have number one.

Take your pick first.

We choose the boys.

- Ian, Jerry, and Rayce.
- Hornbecks.

Yeah. I think we'll go
with the hornbecks.

We wanted the Greens anyway.

All right, well,
I know that this challenge

is incredibly difficult,
but I've brought in

a very special guest judge
to give you some tips.

He has worked on an amazing
array of films,

including The Mask,

Watchmen, and A Beautiful Mind.

He's also won
three academy awards,

including one for his work
on Brad Pitt

in The Curious Case
Of Benjamin Button.

Please welcome Greg Cannom.

When you want
an old-age makeup done

and you want it done right,
you call up Greg Cannom.

He is the king
of old-age makeup.

Hi, everybody.
I'm very excited to be here.

So, Greg, do you have any tips

to create a convincingly
realistic old-age makeup?

When you do an age makeup,
most people I see do it,

they go out,
and you can't do that.

You have to build up
the clay and everything

going straight out that way.

Really make it subtle.

Greg will be joining
the judges on stage this week

to see your final makeups.

Good luck, because
your time starts now.

- Hi, I'm Beki.
- Nice to meet you, ladies.

We only have the twins
for 90 minutes,

so the first thing is getting
their hands cast

and their teeth cast.

As soon as this sucker is set,

we will take you out of it.

A very simple but effective
way to show aging

is in the hands and teeth,

so it's important for us
to get those casts made.

Of course, you guys have
big, bright blue eyes,

which are really difficult.

'Cause 100-year-olds don't have
big, bright blue eyes.

As you get older, obviously
your eyes start to dull out,

so we were like, oh, God,
what are we gonna do?

I promise, it will come off.

- Do me a favor.
- What do you need?

Get a pen.

Straight away,
Sue takes charge,

and that worries me,
because Matt and Sue

are two of the most
inexperienced out of everyone.

I think that if we're
going to do a multi-piece, um--

I think we need to take
their teeth casts first,

because we only have
90 minutes with them,

and I think we can
discuss this afterwards.

Okay.

Tara's a little bit
more aggressive on this one.

Guys, I wonder if we should

try to get their hands
while they're here too.

I think it's better to
focus on the basics first.

Teeth and hands are bonus.

See if your hands
both fit in there.

Hey, guys,
come and gather round.

So we're working on our twins,

and McKenzie walks back in.

We're like, oh, [Bleep].

What does McKenzie
have to tell us now?

How much more difficult
could this possibly be?

I've got a little something
to tell you about your models.

They're not really twins.

Guys, come on out.

- Oh, my gosh.
- What?

That's right.
They are triplets.

Your third model, you're going
to have to age to 50 years old,

so now it is 50, 75, 100.

Now we have three old-age
makeups to do,

and there's three of us.

All of a sudden, this challenge
has just gotten a lot harder.

- Hey, I'm RJ. What's your name?
- Erlina.

Erlina. Great.

Where did this child come from?

'Cause there's two
that look alike,

and then the third one comes in,
and I'm thinking,

y'all playing with us?

Our girl is a fraternal twin
to the identical twins.

Well, well, well,
isn't that special?

Are you feeling okay?
You look a little worried.

- Are you worried?
- Am I worried? No.

If we kind of go
a little bit of hippie--

and then we at least
have a theme

with costume
and stuff like that.

We go, like, you know,
older granola head.

Our concept for this is, uh,
hippie chick.

I choose 100 years old.

Ian is tasked
with the 75-year-old,

and Rayce has
the 50-year-old.

- Okay?
- Okay.

You guys have other thoughts?
Matt, do you have an idea?

What if we just do he's,
like, a businessman at 50,

so he has a business suit?

That sounds great.

I get assigned
the 100-year-old,

Tara's gonna do
the 75-year-old,

and Matt's gonna do
the 50-year-old.

You got the alginate ready?

Sue was saying, do an ultracal.

You don't want to put
anybody's hands in ultracal.

That's like putting
their hands in cement.

Oh.

We don't pour stone directly
over people's hands.

The heat from the ultracal
could have burned him.

That's very dangerous.

So you pour alginate
over their hands,

and then you fill the hands
with the ultracal.

Tara gets angry and upset and
says, "oh, you can't do that."

So that starts
a downward spiral.

It seems like
she wants to take over, but--

She's being real bitchy.

No, no, no, just wrap them
in wet paper towels.

- I did.
- Okay.

She snaps at me.

I just don't like her attitude.

I'm a little offended
right now.

I--

Hey, guys, that's time!

[Bleep].
This is a nightmare.

If we don't pull it together,
our make up won't be cohesive at all.

It is day two
of the old-age challenge,

and we feel great.

We jump right back into it.

Oh, I can sculpt
the forehead backwards.

We only have ten hours today,

so we just need to
get sculpts done.

That's the most important part.

You can see there are
some straight lines there,

and some of them aren't
as wrinkly as we want.

We're sculpting
tiny nasal folds

and eye bags and a brow piece.

These are very subtle things
that can age a person.

The goal is to have all three
models aging progressively,

the first model
being 50 years old.

We're gonna give her a fat suit
and some jowls,

and then she's an athletic
granny and 75,

'cause she needs to lose
some of her weight.

That will take her nicely
into 100,

when she starts to look
a little bit more gaunt.

Since we're doing
such thin appliances,

RJ, Beki, and I have
decided to use silicone,

because it's more translucent,

and it'll look the most
like real skin.

Hey, everybody.

I'm here with Glenn and Greg.

We're gonna do a walkthrough
and see how you're doing.

Hi, guys.
Hello.

Sue, Matt, Tara.

So how many pieces

are you planning on
breaking that down into?

Two.

I'm going to just get
the nasal folds,

because they're so heavy,
like that.

Okay.

What materials
are you gonna use?

- We're gonna use silicone.
- All silicone?

Yeah, it's a little tough,
because we're the ones

with the least amount of
experience in all of this.

- Tara butts in and says we're
the least-experienced group.

Speak for yourself!

She's gonna be heavier
when she's 50,

so we'll be doing these--
Do the jowl

and the heavier bagged chin
here.

Are you gonna be doing
any overlapping pieces too?

We're gonna do a forehead,
bags, cheek,

and jowls and upper lip.

How many pieces are you doing?

The 75-year-old only has
these four,

and neck and forehead,

and then the rest
is gonna be stippled.

And the coloring
and everything,

are you gonna really break
it up, mottling and--

That's the intention.

As she ages, she'll get Tanner.

So let's discuss Jerry,
Rayce, and Ian.

I'm a little concerned
at the way

that they're approaching
the sculpture.

I don't know that they're
leaving themselves enough time

to get down into the subfloor
and the details.

And it's hard

by the way they're starting
with the wrinkles.

- Yeah.
- That's not the way to do it.

You have to get all
the shapes in first

and then rough in the wrinkles.

Let's move on to Matt,
Sue, and Tara.

I think conceptually,
they're the best.

I think the 100-year-old
is too subtle and too thin,

and it needs to be a lot more
jowly with sagging flesh.

So let's move on to Beki,
RJ, and Heather.

I'm really concerned
about Heather's sculpture.

She's not laying the clay on
the right way.

So I think that each team has
a couple of really good ideas

and each team is making
some very serious mistakes.

So I guess we'll see tomorrow.

All right, guys.
Good luck.

See you tomorrow.

Once the sculpture's done,
it's time to make a mold.

You cover it in
a cement-like substance,

let it set up.

Once it's set up, you open it,

and that's the moment of truth.

Only one person
needs to do gelatin.

It's really frustrating,
the fact that they have this,

like, bond and, like,
talk quietly with each other.

I can't change their sculpts,
I can't change their methods.

I'm a little nervous
about that.

We've got three minutes.

RJ and I are very worried
about Heather's sloppy molding.

Uncomfortable.
- Mm-hmm.

Her work is definitely not
conveying an old-age makeup.

That's time!

I'm not real confident with
how things are gonna turn out.

Let's see what we have
for silicone.

Today is application day.

We've got four hours, and then
we've got an extra hour

right before stage
to get everything done.

- That's a good color.
- Yeah. It's nice.

Come and look at my edges.

My prosthetic has edges
that are a mile thick.

I might as well take
a sander to the edge of it.

- Hello.
- Here we go.

Hey, girls.

What are you
starting with, Rayce?

The nasal labials.

I'm feeling pretty good about
what we've got going on.

Ian and I start laying down
our prosthetics.

Oh, does it tickle?

Jerry starts applying
his prosthetic.

Even though we haven't been
communicating the best,

we did decide to place
the molds and the sculpts

of each of the three models.

It's something that will
carry over

to make it look
like the same person.

You're not doing
a bald cap, Sue?

- Oh, I'm just--
- Oh, you're just fitting it?

- I'm doing
the 100-year-old.

I'm going to do a bald cap,
but each triplet's hair

is so thick, it's almost
impossible to flatten it down.

Do you think you're gonna
have enough time

to help me with the hands
at one point?

Um, maybe, if I can
get that hair done.

One of the strong points
of my makeup

is showing
that receding hairline,

but if I do it wrong,
it could be a horrible mess.

You all right?

As soon as I start to lay
the prosthetic down,

I notice my model
can't handle it.

Okay, I better
take it off, then.

I just have to get
the makeup off her

no matter what the cost.

What am I gonna do?

I'm worried that if I don't have
makeup to show the judges,

I am going home.

My model had
a bad skin reaction.

A new model is on the way,

but I've got to get this
laid down

before we go to the studio,

which about an hour.

Finally, the new model
shows up and, wow,

this lady is very tiny,
very small hipped.

I have this piece
that's been sculpted

for somebody who has
a much larger head

than the person that
I'm applying it to.

So what we'll do is
try to get this to fit

to your facial features
as much as possible.

- Look like your grandma?
- Yeah.

15 minutes.

I'm looking around,
and I'm the only one

who doesn't have a single drop
of paint on my model.

I am totally screwed.

All right.

Hey, everybody, that's time.

We're done.
Let's go.

Her face looked like
some botched plastic surgery.

I think I'm going home.

Last looks is
a make or break situation.

I need to really pull through
on this one.

We shall witness
the fastest paint job ever.

Sue and Matt and I have to
make them look cohesive,

so I'm hoping
it'll come together

with the paint or the hair.

At least we have the mole.

I have to cut the piece
and dart it

like a piece of clothing.

Paint only covers so much.

I'm gonna go right underneath
your nose area right here, okay?

I was gonna do, like,
a really light brown.

Time's up, everybody.

You only got one hand on her.

I didn't get any hands on.
That kind of sucks.

Welcome to the Face Off
reveal stage.

Tonight, one of you
will be eliminated.

Say hello to your judges.

Owner of optic nerve makeup
effects studio, Glenn Hetrick.

Hello.

Three-time Oscar-winning
makeup artist Ve Neill.

Good evening.

Creature designer and
director, Patrick Tatopoulos.

Hi, guys.

And you've already met our
special guest judge this week.

Please welcome

three-time Oscar winning makeup
artist Greg Cannom.

Hi, everybody.

So this week,
your spotlight challenge

was to work in teams

to create a set of old-age
makeups on triplets.

Now RJ, the judges
have been made aware

that your triplet
had to be replaced

with another model,
so, with that,

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

I'm a little worried
about the hair,

but I think
I'm still safe enough

to not be at the bottom look.

Overall, I'm okay with it.

I think mine looks
fairly realistic.

I'm really confident
in my makeup.

This is the first time
where I feel like

I'm gonna put my name on this

and this can be
really good for me.

Overall, 20 feet away,
she looks great.

I'm feeling very confident.

It's by far the best sculpture

out of any
of the 100-year-olds.

It's the only one that
looks like a real person.

I am stressed out.

I am starting
to profusely sweat

in areas I did not know sweat.

She looks decent.
Uh, she doesn't look awful.

Gave it the old college try
anyway.

I feel like I'm in
a little bit of trouble.

This is the most
anxious I've been yet.

I know that she could
look better.

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

I think it's
a little too subtle.

Glenn just shakes his head.
It's very scary.

It's very unnerving.

All four of them
just started attacking.

Ah, crap.

I'm definitely not gonna
be safe this time.

So this is the one
that had to be all cut

- and manipulated, 'cause--
- Exactly. A different model.

Open and close your mouth
as wide as you can.

Well, the judges
have scored your creations

and would like to speak
with each of you

to learn more about your work.

Matt, Tara, Sue,
you are up first.

All right, so let's start
with the 50-year-old makeup.

How do you feel that you
did with this makeup,

a scale of one to ten?

- I'd say about a seven.
- You would, huh?

Looks like he might have
been bitten by a chia pet.

He looks like a were-chia,
sort of transformed

into whatever that is.

I want to know why you made
the top of his head so tall.

Well, our guys
had very thick hair,

and so it was really hard
getting it down, and--

Okay. Matt, why didn't
you just use his own hair?

Uh, I wanted to show
some receding.

Oh, dude, you have let him wait

till he got older
for that business.

Yeah, when I do
a 50-year-old makeup,

I would never do a forehead
on anybody, ever.

I would always keep
it very subtle.

All right, let's me on
to your 75-year-old makeup.

I don't think the makeup
is horrible,

but unfortunately the hair
is a little bit distracting,

I gotta tell you that.

I look at a character
that goes from 50 to 75

to 100 years old, your 75
suddenly got very long hair,

and it feels like it doesn't
belong with the two other guys.

Okay.

All right, let's talk about
your 100-year-old makeup.

Sue, how did you guys decide
which one of you

would be doing
the 100 years old?

Well, it seemed that
the more he progressed in age,

it would be more
sculpting-heavy.

I feel like sculptins
definitely my forte.

It's a very nice job.

Very impressive to me.

This, to me, feels very real.
Good stuff.

I like that you put
a lot of character into it,

and I love the bald head
and everything.

You did a great job.

Thank you very much.
You can step back.

All right, Beki, RJ, Heather.

Okay, let's start with
your 50-year-old makeup.

I think that the approach
was a good idea.

I think you fell down
here sculpturally.

Okay.
I would agree with that.

It looks like she got hit
with a frying pan.

This pinched, folded,
weird globular mess

right here on her face is
really a wrong thing to do.

It's so distracting, I don't
even know what to tell you..

Now let's move on to
your 75-year-old makeup.

So can you tell us a little
bit about what happened here??

My first model had really
violent allergic reaction,

so I was just trying to
make this work

with the shape of her,
uh, bone structure.

Everything that you're telling
me sounds like an excuse,

but it's not, because you
managed to take

all of those things and turn it
into a successful makeup.

The fact that it's not
for her face

and you were able to
manipulate that piece

to get it to line up that well,
to me, is impressive.

Thank you.

It's interesting.

We say, when
an incident happens,

sometimes this is where you
become the most creative.

The piece literally wrapped
around behind her neck,

and I cut about a good inch of
of both sides of the neck.

- Yes.
- So...

- Great stuff, RJ.
- Thank you.

Yeah, I thought you did
a very nice job.

You did very subtle sculpting.

I really like it.

All right, let's move on
to your 100-year-old makeup.

Okay, can you explain to me
why it looks so weird?

I don't know
how else to say it.

I mean, this is all kind of
drooping down here and strange...

It's very--
It got very droopy.

The anatomy's not correct.

It looks more like a zombie
makeup, to tell you the truth.

When I looked close
at the makeup,

I realized that the neck
wasn't glued down.

Did you do that on purpose?

Um, a little bit here,
but I actually was hoping

to be able to get it
to tuck back in.

It feels to be like a mask
for that reason, and because

the pieces are floating
as well, it doesn't help.

Thank you very much.
You can step back.

Rayce, Ian, Jerry.

Now, as a reminder,
Rayce has immunity

and cannot be eliminated.

Okay, let's start with
your 50-year-old makeup.

Patrick?

Rayce, I'm a big fan
of you as a designer,

but I've got to say,

I felt not very,
very impressed with the result.

I think's a little too subtle.

Okay.

For me, I would have done more

in the area of the nasal folds
and everything,

and I also would have gone

a little more
of sunburned colors.

Okay.

Where you applied
your appliances,

the roughness and the texture

says more a disease
or ailment than it does age.

- Okay.
- Disappointed.

All right, let's move on
to your 75 year-old makeup.

One to ten, how do you
think you did?

I'd say 7 1/2 or so.

You guys generally
overestimate yourselves

on these challenges,
I gotta tell you.

The tone of her face and her
neck are completely different.

I'm already granting you guys
certain latitudes

in the fact that you have
so little time,

but coloring right
doesn't take any longer

than coloring wrong.

When I got up close,
it just looked bad, honey.

There's not really
any texture to it,

it doesn't really
have wrinkles,

and it looks all splotchy.

I'm disappointed.

All right let's move on
to your 100-year-old makeup.

For the time that you had
to do this,

I think it's, you know,
really successful.

I just wish the coloring
would have gone

just a little bit further,
but other than that,

I think you did a pretty
great job, Jerry.

- Thanks.
- Congratulations.

I'm really liking this.

I think, again, I look at
the three of them together,

and I can tell the progression.

Thank you.

All right, guys,
thank you very much.

You can step back.

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

If you would please
head back to the makeup room

while they make
their decisions.

All right guys, so let's start

with Matt, Tara,
and Sue's makeup.

What do you think?

Sue really impressed me
this week.

To me, it's one notch higher

than most of the stuff
I've seen today.

And it was blended
really nice too.

Matt's, with the forehead,
was really frightening.

It's scary when a makeup
artist can't look at that

and go, "this isn't working,"
and not change it.

Let's move on to Jerry,
Ian, and Rayce.

Well, I think Ian was--

He's just out of his league
on this one.

Once again, if maybe
even the coloring

had matched up more, you know?

Ian has proved to us
that he's a very creative kid,

but, you know, old-age make up
is not about being creative.

It's the technique,
the knowledge.

- It's the knowledge...
- It's experience.

It's experience, yeah.

And I want to give credit
to Jerry this week.

I'm always very pleased with
Jerry's attitude and work,

but this time, I think he did
a pretty decent job, no?

Did a great job.

All right, let's move on
to Heather, RJ, and Beki.

Heather missed the mark
on this one completely.

The anatomy was all wrong.

It looked like something
that you might see as a joke,

like on SNL if they
were purposely trying

to make someone look
ridiculous.

You know, Beki's
was just bad choices.

The silicone was hard.
The sculpting was bad.

- The edges were bad.
- RJ, though, high point.

- He really pulled it out.
- Yeah.

Nice and thin,
sculpting and everything.

And the other two,
just the--

Their-- The sculpting
was just non-existent.

All right, then, judges,
have you made your decisions?

Yep.

Yep, we have made
our decisions.

Let's bring 'em back out.

Glenn, why don't you tell us
about the top looks?

Our top three makeups
tonight are...

Sue, for a very convincing
and comprehensive makeup.

Jerry, for a very solid approach
to a tough challenge.

And RJ, your makeup,
pretty good overall,

but particularly
considering the obstacles

that you had to overcome
this evening.

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

The winner of
this challenge is...

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

The winner of
this challenge is...

Sue.

It was an extremely
strong effort

on what was an exceedingly
difficult challenge.

Recognition
means so much to me,

and to have that
from four people

that I really respect
and admire, it feels great.

Sue, congratulations.

You can head back
to the makeup room.

All right, Glenn, who are
our bottom three this week?

Ian,

Beki,

and Heather.

All right,
the rest of you are safe

and can head back
to the makeup room.

Ian, Beki, Heather,
please step forward.

All right, Glenn,
why don't you tell us

about the bottom looks.

Ian, your sculpture
was just too subtle,

and you also made
some fatal color errors.

Beki, mainly due to
the inaccuracy

of the anatomy
in your sculpting.

And Heather, there were major
flaws in both the sculpture

and paint approach
to your makeup.

All right, so who is
leaving us tonight?

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

Heather.

Damn.
Damn.

Unfortunately,

your makeup looked more
like a melting zombie

than an old-age makeup.

- I agree.
- I'm sorry, Heather.

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

It's been great
having you here with us.

Please head back to the makeup
room and pack up your kit.

- Thank you.
- Thank you.

- Bye, guys.
- Good luck.

The hardest part about leaving

is just wondering
what I could have done...

It's me.

And if I could have gone
farther.

It's meant a lot to me to be
part of the competition.

I love effects, and this has
only fueled that fire more.

Sync and corrections by n17t01
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