All language subtitles for Face Off - 2x08 - Burtonesque.HDTV.en

Previously on Face Off...

The artists brought Patrick's
complex alien designs to life.

I have to impress Patrick.

It's gonna be a catastrophe
if it doesn't work.

Despite major
problems, Ian claimed victory.

And in a shocking
double-elimination,

Tara and Jerry went home.

Now, six artists remain.

And tonight...

They'll face an extraordinarily
difficult new challenge.

Oh, my goodness.

What the hell am I going to do?

But for some, the intense
pressure is too much to handle.

It's fucking horrible.

I hate this.

Are you kidding me?

Sue has lost her damn mind.

I'm out of time.

I don't wanna go home for this.

What the hell
were you thinking?

I could easily see myself

being a bottom look.

The build turned into this

ballet of idiocy.

And 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 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?

Only one will win Face Off!

Sync and corrections by n17t01
www.addic7ed.com

Oh, it's too early.

It's a little weird
being only six of us left.

Yeah.

There's only six of us left in

the house and it makes the final

goal that much easier to see.

I cannot wait to see
my boyfriend...

Be able to call the family...

Yeah.

At this point in the competition

I'm getting really,
really homesick.

It didn't matter
what I was doing

as long as I could go home
and see the family

and tuck the kids in at night.

You know, that gave me, like,
this invincibility boost.

Yeah.

Each day that goes by without
them you get, like, just...

More and more drained.

Yeah, more doubt, you know?

More-- You lose that confidence.

It's really hard.

I'm always thinking about them.

I just can't think
about missing them.

I want to see their faces every
day, but at the same time,

I've gotta remain in this
competition and I've gotta

put all that emotion and just
turn it into these characters

and really brute force
through this thing.

Walking up, we really have no
idea where we're going.

We see these giant towers.

Just huge structures, you know?

They're pretty amazing.

Welcome to the Watts Towers.

What do you think?

It's beautiful.

Amazing.

Once upon a time, this was
just an empty ordinary lot,

indistinguishable from
anything else around it.

But with imagination and vision,
it was transformed into

an urban artistic oasis.

Turning something mundane
into something

actually quite extraordinary.

That is the underlying premise
for your challenge this week.

You're being whisked away to the
fantastic and whimsical world...

Of Tim Burton.

Are you kidding?

Yes.

I'm a huge fan of Tim Burton

since I was a kid.

Edward Scissorhands,

Beetlejuice,

The Penguin... That...

Childlike, sweet center,
wrapped in a twisted

barbwire concoction
of black and white.

It's a crazy juxtaposition
that just really works.

This challenge is made for me.

Tim has a way of taking
people with ordinary lives

and professions and
turning them into

wild and wacky feature
characters for his films.

Such as everyone's favorite
topiary artist and hairstylist,

the misunderstood loner,
Edward Scissorhands.

Your spotlight challenge
this week is to create

a whimsical character inspired
by an everyday profession,

worthy of being featured
in a Tim Burton film.

- Oh, my God.
- So...

How awesome.

These are your choices...

Plumber...

Ice cream man, chef,
baker, toymaker,

mailman, cellist,
farmer and bellhop.

So let's see who's
gonna go first.

Sue.

The first one on the list that
I really want is toymaker.

Toymaker.

Sue grabbed toymaker.

Then I'm thinking,
I gotta get baker.

Baker.

But then Beki grabs bake

- cellist.
- Ice cream man.

- Lo and behold, one-by-one,
they all start to disappear.

Plumber.

Yep.

RJ.

Bellhop.

Okay, that's cool.

Now before you head
back to the lab,

why don't you just
take a minute to sketch

and let this beautiful
place inspire designs.

Tomorrow, I'm gonna be doing
a walkthrough with ve,

who's actually worked on
five Tim Burton films.

So make sure to bring your
"A" game, guys.

Cool, cool.

I'll see you all tomorrow.

I'm totally hyped
about this challenge.

I can't wait to get
my hands into this.

Sitting in front
of the Watts Towers,

the shape of the tower
speaks to me,

and so I just start drawing this

huge pointed cone on top
of my character's head.

He's an ice cream inventor.

His lab exploded,
fusing his anatomy and DNA

with his own creations,
so now he's this chocolaty,

ice-cream-sprinkled,
waffle-cone-headed clown.

If you think about
Burton characters,

they're not heavily
makeup oriented.

That's what we were
just talking about.

Think about how
subtle all those

makeups were in
Alice In Wonderland.

I already see this character.

She lives in the realm of
Alice In Wonderland.

She's in love with the hatter,
who works next door.

Becomes toxified by
chemicals that he uses.

I'm gonna make a big cupcake
and a cherry.

I already know what I wanna do
when I get back to the lab.

All right, guys,
let's head out.

I feel like mine's just gonna
be sweet and simple.

No pun intended.

We get back to the lab and,
because I was the last one

to choose the profession,
I got the first draw

for the head cast.

And I picked Landon, because I
had worked with Landon before.

Landon really sells
anything you put on him.

He's also really tall and lanky.

Just like 90% of
Tim Burton's characters.

I'm very nervous
about this challenge

because I'm going very
subtle on appliances

and more fabrication-heavy.

Tim Burton does
a lot of gear work,

uh, steampunk kind of feelings.

And I'm thinking plumber would
be very mechanically inclined.

So I'm building a hydraulic
plunger backpack.

I'm only doing two appliances
that are on the face.

With this eyepiece, I figure
he was working on a radiator

and steam blasted him in the
face and burnt his eye.

I go over and horde all
of the really dense foam.

I'm thinking the bellhop has
become part of the luggage.

So he has drawers in his chest
like a trunk would have,

and he can open his drawers
and pull out clothing.

Immediately, I start sculpting
my original design,

which was almost like she's
becoming a cello herself.

And then I came up
with this design,

which is a little more sleek,
and it uses

more the model's face.

I wanted to see if I could bring
in another character,

and so what I decided to do
was actually take the cello

and put a face up
here in the corner,

almost like the cello was
morphed into a human

and it's her love.

For my toymaker, my concept
is, in this remote village

where no one can have kids,
and this toymaker

decides to start
making toy children.

So this entire town
is carrying around

these creepy-looking
marionettes.

I'm really worried, only because
I've never made a puppet before.

Whoa.

I got my eyepiece sculpted and
it's looking really cool.

But then I walk by Sue
and I look at her sculpt

and I'm, like, "oh, my God."

We're doing the same thing.

Sue and I are both doing
a one eye covered.

Oh, really?

I'm freaking out right now.

Sue?

Are you kidding me?

I hate this.

I don't think I can
use this appliance.

This could kill me.

Coming up...

Sue is doing another
old-age makeup.

I don't think Beki is
gonna use any appliances.

There's that voice
in my head that says,

"you didn't do enough."

I don't think he looks like

a Tim Burton character.

I love that.

- We're creating
a Tim Burton-like character

based on very ordinary
professions and making them

extraordinary and whimsical.

I got my eyepiece sculpted and
it's looking really cool.

Then I walk by Sue and
I'm like, "oh, my God."

We're doing the same thing.

I know that Ian has a huge
advantage over me

by being more experienced
at fabricating,

and all I have is my
originality.

Did you take the eye out, Sue?

Yeah, I'm going to have it
on the actual mechanism.

- Oh, gotcha.
- So that...

They can see both of the eyes.

Thank God.

- Mm-hmm.
- Wow.

That's gonna be crazy.

I'm going to make a
little headpiece with

a magnifying glass that
a lot of toymakers have

when they're tinkering
with stuff.

Day one's winding down
and I still don't know

what I'm gonna do
for the paint scheme.

There's a lot of different
possibilities.

That's time, everybody!

Hopefully, I'll get some
good sleep, think about it,

and have an idea
tomorrow morning.

Second day in the lab.

We got ten hours today,
which is great.

I come in, look at my
silicone appliance...

There's no way I can
even use these.

I have to blend the edge of the
appliance and the skin

and make the edges invisible.

But the edges are
just too thick.

It's fucking horrible.

Like,
I'm gonna have to redo it.

I feel like I'm doing
really well today.

I feel like everything that I'm
planning on is on schedule.

Is that big enough or should I
make this dome bigger?

I have a little bit
more time than usual

to focus on some
smaller details.

I'm looking around
and I notice that Beki

is still working on her cupcake

that's in no-- nothing else.

So I don't know what's really
going on with her.

By the end of today,
I would like

to have the cupcake completed.

I'm gonna add some pigments,
and just put that on top

so it looks like it actually has
real icing on it.

Are you gonna mold that?

Yeah, so that it, like,
is shiny and hardens.

I don't need to
sculpt a crazy face.

I'm just gonna be
hiding her eyebrows

and doing a dental appliance,

which I can do on
application day.

Morning everybody.

Morning.

- I am here with Ve.
- Morning.

We're gonna do
a little walkthrough

and check out your work.

Ve is the perfect person
to judge makeups

based on Tim Burton's work,

because she's brought his
creatures to life.

I got the bellhop.

Growing up I remember,
in a magazine, you had a...

A print out of how you applied
your penguin on Danny Devito

with the pieces and
how you based it out

with the packs first
and then you went in

with the colors afterward
and all that stuff.

- Right.
- So I think I'm gonna try that.

If you match the prosthetics

to their skin tone first,
then you have, like,

a blank canvas again
so when you go to apply

the pale makeup,
it goes on a lot easier.

Right, I think that's
what I'm gonna try and do.

Ooh, this is cool.

Thanks, it's-- it's more
of a-- a tragic villain.

How are you gonna color it?

I'm going for a white with
maybe some purples and reds,

and I want some,
like, brown chocolate syrup.

You know?

For some of the red--

Instead of the reds,
you see chocolate syrup.

- Good luck.
- It's going good.

Thank you.

I'm going more fabrication
instead of makeup.

I'm only gonna have
two appliances going on.

One of them is his eye.

Can I see your appliance?

Oh, and you're doing it
out of silicone?

These edges are kind of
thick, aren't they?

Yeah, that's what
I was looking at too.

I'll fix it.

I might even
re-sculpt another one

if I can't get it to look good.

I actually went through
a few different designs.

It's just a-- a face prosthetic.

Sometimes less is more.

I mean, you know, you don't

necessarily
have to cover their,

you know, face with prosthetics

to get a Tim Burton character.

If it's better to use
your time more wisely

giving your great paintjob
and working on your props,

then perhaps that
one prosthetic could be enough.

The other thing I wanna bring
to this is-- it's kind of risky,

but I was working on some cello
designs with a face in it.

And she has a flowing emotional
dance with this cello, so...

Wow.

This dynamic with her cello is

a lot of the stuff
I'm feeling inside,

being away from my wife,
being away from the kids.

This is the stuff
I'm going through

so that's a release for me.

My concept is that
there's a toymaker

in a very remote
town where somehow

everyone in the village
has become sterile...

...there's no kids
and everyone starts...

...it's very gloomy
and there's no...

...and then what ends up
happening is that

all his friends
start dying off...

...so this toymaker starts
making these puppets...

...he takes their brains

and then sticks them
onto the puppets.

They're gonna have brains
on top of their heads?

Yes.

I'm gonna have the tops
of the head

just shaved off...

And then have a brain on top
and then cover it.

What's this going on over here?

Um, I'm making him a fat suit.

- Wow, that's a lot of work.
- That is a lot.

I know that the judges want
to see a full makeup from me,

more than just a headpiece.

So I have to step it up.

You see this is kind
of an opportunity for us

to go sort of minimalistic
with our makeups,

but maybe bright and vibrant
with the makeup job

that we actually
apply to the face.

So your Tim Burton thing is
more about the whole look of it.

The stripes and the colors
and the swirls and the--

Yeah.

I really think that
I'm creating something

that's nice and that I'm not
doing anything that's too much.

How do you think they're doing?

I like Rayce's character.

I like the way he's
making that cello

and giving her that
swoop on her forehead.

I'm a little concerned
about Ian.

Yeah, he seems...
troubled with his concept.

He seems a little indecisive
about where he's going.

Sue is really biting off a lot.

I'm afraid she might not be
budgeting her time well.

You know, if she pre-paints it,
she'll probably do okay,

but, I mean, that's a lot of
work for one person to do.

- Beki--
- And the giant cupcake.

And the ginormous cupcake?

I think because of the fact

that she's not
doing prosthetics,

she's really gonna
have to do, you know,

a really fabulous paintjob
and really pull off

a great Tim Burton character.

All right, guys,
it's looking good.

Good luck, we'll
see you tomorrow.

- Bye, everybody.
- Bye.

- Bye.
- See you tomorrow.

Sue is doing another old-age
makeup, it looks like.

I feel that that's really
the wrong way to go with this.

I'm looking around the room.

I see that everyone
else is sculpting

these crazy faces, and because
my makeup is very simplistic,

I start getting worried.

I just think that
everyone else is going

so crazy with the
fucking appliances

and the facial pieces that
mine's gonna be, like...

I don't know.

Beki I don't think is
gonna use any appliances.

She's building a great cupcake,
but other than that,

I don't think
she's doing anything.

I don't have a full
facial prosthetic.

Maybe I'm wasting time.

I don't know.

Beki, I don't think is gonna
use any appliances.

She's building a great cupcake,
but other than that,

I don't think she's
doing anything.

Maybe I'm wasting my time,
I don't know.

But I also feel very
strongly about my character

and how she will look
on application day.

So I'm gonna stay
with my original concept.

I'm not going over-the-top
crazy this time.

Maybe I don't understand
the concept here.

You have Planet Of The Apes,

you have Sleepy Hollow,
Big Fish,

and Willy Wonka And The
Chocolate Factory,

which are all
very different films.

Burton has all these different
genres he's worked in,

and I don't really know
what the judges want.

It's really frustrating,
this one.

Today is ice cream day.

So I finish my sculpt
and I begin molding

a square form
of a waffle sheet,

and I'm gonna run
latex for a skin

and polyfoam for
the ice cream cones.

So it will be lighter
and squishier.

I only have one mold, and I have
to make 12 different pieces.

So it's all drying
and pouring latex.

And that's what's taking
a lot of time.

There's so much to do.

I'm really worried.

This could be the challenge
that I go home.

I just have a lot of stuff
going on, and I need to edit.

I'm not going to do
two puppets at this point.

Are you kidding me?

What was I thinking?

When I start to
paint the backpack

and age it up a little bit with
some water, it starts to pop.

It's really starting to come
together and look metallic.

It's looking pretty good,
I'm kind of excited now.

That's time, guys.

When we get to the house, I'm
really worried at this point,

but at the same time,

it seems like Beki's really
worried too.

God, it is really daunting
though, how everyone else--

Yeah, oh, yeah.

Is bringing out
the big guns on this one.

Yeah, I mean, I-- I started
getting really nervous

when everyone was sculpting
a face, and I was like,

"I'm just gonna
bring out a cupcake."

Well, it seems
like everyone else

is very well-rounded,
and I need to prove myself from,

you know, last challenge.

Sue's feeling
a little apprehensive.

I do believe that she is
skating on very thin ice.

And if she can't pull all
those pieces together,

she will have a problem.

I'm definitely not gonna go
without a fight.

It's day three,
application day.

We have four hours
to work on our models

and apply the prosthetics
and the makeup.

That's good.

It's the final six people,

so all stakes are high
for everybody.

And it gets pretty intense
on application day.

When you have that four hours
and it's ticking by so fast,

you start really
understanding your time.

Even rolling out paper towels
takes about a minute.

I could have spent a minute
doing something else.

Nice to meet you.

- I missed you so much.
- Aw.

- Nice to meet you finally.
- Nice to meet you. Tommy.

I start painting
the prosthetic.

Before I apply it,
I'll put at least

a good hour in
there of painting it.

That way, I know for sure that
my paintjob's gonna be spot on.

See if this'll be
uncomfortable for you.

All right, close your eye.

I apply the eye prosthetic

and I start to paint him.

He looks exactly like
a Tim Burton character.

It's weird how much you look
like Johnny Depp.

I'm gonna go with it.

You're the bellhop.

You're gonna pull
pantyhose and scarves

and then a big girdle out of
this little tiny drawer.

And then you can--

- Ring your bell, okay?
- That's funny.

I'm feeling really good.

See if you can get that on.

Everything is on schedule.
Perfect.

Thank God, because having
a butt-pile of work to get done

on application day
will screw you up.

Hang on.

I need some kind of help
to pull this through.

I'm really behind, but if you
can help me if you don't mind...

And I'm thinking if models can
help blow-dry themselves,

why not help cutting
some things up?

You're gonna cut all these
up as little stickers

and stick 'em on
the back of these.

- And then--
- Yeah, of course.

Oh, my God.
Yeah. Thank you so much.

Sue has lost her damn mind.

I have another project for you.

- Okay.
- See how this hair's kinky?

- Yeah.
- Just straighten it our for me.

I feel like a crazy
toymaker right now.

Go like this for me.

I'm looking around,
and Sue's running a sweatshop

in the other corner of the room.

What the hell is she doing?

Maybe it's the calm before the
storm, but I'm feeling good.

This is the only time

where I might actually
have time to spare.

But then there's always
that little voice

in my head that says,
"well, maybe

that's because
you didn't do enough."

That's time, everybody.

I only have one hour
backstage to finish.

I don't even
have his makeup on.

What the hell am I going to do?

Coming up...

Oh, my goodness.

I'm out of time.

I'm seriously impressed.

Wow.

I love the costume,
I love the makeup.

All I can see is
this ballet of idiocy.

We only have one hour left,
and I need to paint,

I need to do an actual
character makeup on him,

and on top of that, I still
need to finish the puppet.

Last looks, it's ridiculous.

There's never enough time
within that hour.

It actually feels like
it's 15 minutes.

Like,
it just flies by so quick.

Yeah.

Do you know how to hold this?

Oh, my goodness.

I'm running out of time.

I don't know how I'm
gonna pull this out.

All right, guys, time's up.

Put 'em down.

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.

Good evening.

Three-time Oscar-winning
makeup artist Ve Neill.

Hi, everybody.

Creature designer and director,

Patrick Tatopoulos.

Hello.

And joining our panel
this week,

she is one of Tim Burton's
go-to actresses

for films like Beetlejuice,

The Nightmare Before Christmas,

and the upcoming film,
Frankenweenie.

Please welcome
Catherine O'Hara.

Hi.

This woman is a comedic icon.

So it's exciting
for everybody, really.

This is kind of a reunion
for you and Ve.

It is.

We did Beetlejuice together.

She did some wonderful
special effects makeup

and made me look
frighteningly gorgeous.

I did.

Catherine, thank you
so much for being here.

Thank you.

So this week,

your spotlight challenge was
to take an ordinary profession

and create a character
worthy of being featured

in a Tim Burton film.

Let's see what you've
come up with.

First up is Ian.

I think he looks
damn cool onstage.

He looks like a, afterlife plumber.
I really like it.

I love the character.

It's colorful and striking,

and it's exactly
what I wanted it to look like.

I love the ice cream man.

He's so colorful,
so delicious-looking,

and he's just
a-- a feast for the eyes.

I'm just so proud of myself.

I can't believe
I pulled that off.

I think I can see my character
in a Tim Burton movie.

But then I also put
my twist on it

because I'm tired
of being a runner-up.

I didn't come here to just
be... almost good enough.

I'm just loving it.

I'm starting to grin
from ear-to-ear.

And I really think I did
a good job, myself.

All right, judges, why don't
you take a closer look?

They make all the props too?

- Yeah.
- Wow.

The back prop
is cardboard and hot glue.

So I'm sitting there as Glenn's
pulling on it.

It's gonna fall apart.

Open your mouth... All the way
so I can the bottoms too.

Before it was painted
and everything,

it was six hours on the cupcake.

I don't know about the cherry.

Yeah, no, this is
one big piece, yeah.

Oh, no thanks, I ate.

It looks good.

Is that silicone?

Mine's the only one
that looks super realistic,

but it may not be
the most Burtonesque.

So, I'm starting
to get really worried.

I don't wanna go home for this.

Mine may not be
the most Burtonesque,

so I'm really worried.

That's cool.
Wow, yeah, nice movement.

It's anybody's game,
and I could easily see myself

being a bottom look, just
'cause they're all so close

and they all depict different
areas of Tim Burton.

Can you spin this around so we
can take a look at the back?

This is really cool.

Yes.

Thank you.

I'm laughing and having a
heart attack at the same time.

So, Catherine,
you know what it takes

to make a great
Tim Burton character.

How do you think they did?

I'm seriously impressed.
Wow.

When I think of Tim Burton,
I think of beautiful balance

between dark and light
and creepy and funny,

and it's all there.

Great characters.

Congratulations.

- Thank you.
- Thanks.

All right, well,
the judges would like to speak

with each of you to learn
more about your work.

Matt, you're up first.

All right.

Tell me more about the makeup.

I sculpted the waffle sheet,

wrapped a sheet of foam
around for the cone,

I used polyfoam for
the ice cream itself,

and some 3rd degree
for this chocolate.

This is more of what I've been
looking for out of you.

The balance of what you did,
integrating the actual

cones into the makeup
was very wise.

I love the costume,
I love the makeup.

If Tim Burton was gonna
make a horror movie,

this guy would be in it.

I did not think
he was too scary at all.

I think he's really funny,
and I see that he thinks

he can get out of the truck
and meet the kids.

It looks like he doesn't have
any idea how scary he looks.

Very Beetlejuice to me.

All right, Matt,
you can step back.

Thank you very much.

Beki, you're next.

Okay, Beki,
I would like to know

what the hell
were you thinking?

No, what's your story?

Oh... I'm like, "um..."

I'm sorry.

She is a baker.

She falls in love
with this hatter.

He ends up leaving, and it
makes her completely crazy.

You've got the stripes down.

You've got
the Tim Burton stripes.

Unfortunately, this just echoes

something that already exists.

I'm not sure what is it
you did with all of your time.

Can you tell me?

I basically got the concept
together, I made the teeth,

um, made the big gigantic
cupcake and the cherry.

I gotta tell you,
I'm really disappointed

in how this came out.

You spent so much time
making that cupcake,

and I was hoping it was gonna be
some fantastic paintjob.

It's just kind of sloppy.

A lot of other people made a lot
of props and did prosthetics,

and this is just
kind of a letdown

as far as I'm concerned.

I think you have a great sense
of shapes and proportion.

You have that,
I wanna give that to you.

Where you--I think you
made a mistake is,

I feel like those teeth
don't belong to her.

Like, you put the mouth
as an add-on.

Beki, thank you very much.

You can step back.

And, Rayce,
please step forward.

Tell us a bit about the story
of your character.

This is actually someone
she deeply cares about

that she has transformed,

and she actually keeps it alive
by playing the cello.

It's like a heartbeat.

Just very, very impressive.

I like that you're playing with
the shape of the cello.

To curve it and having
her starting to move

in that same language, it's,
to me, very elegant and poetic,

and I like to see something
like that for a change.

Thank you so much.

It's so soulful and-- and,
uh, romantic, and I imagine

Danny Elfman music along with
this would be so beautiful.

Rayce, I really have to
applaud you this week.

You did something
completely different.

It doesn't look like
your signature work.

That cello, to me, is exactly

what this challenge
is all about.

And the fact that
you've pulled pieces

of the instrument into her face.

Really, excellent job.

And your airbrush
work is really great.

You had airbrushed her clothing
as well, which was a good idea,

because it homogenized
the whole look.

It's just beautiful.

Thank you so much.

Rayce, you can step back.

Sue, you're up.

Do you feel that
you accomplished

everything that
you set out to do?

I knew that I had
a lot on my plate,

but I think I accomplished
the things I wanted to do.

I don't really think
he looks like

a Tim Burton character at all.

I-- I was wondering if you even
knew who Tim Burton was

when I saw this guy
come out here today.

Right now, he's just kind of,
like, a creepy old dude that's

playing with these creepy dolls.

I think the most
Tim Burton part

of your thing is
your little puppet.

All I can see is this
hodgepodge of ideas

that are sort of
jammed together.

The build turned into
this ballet of idiocy,

where nothing
went together at all.

I think that you were successful

in creating the silicone
appliance, but it looks

very, very reminiscent of
the old-age that you did.

Sue, you can step back.

Ian?

All right, Ian,
tell us your story.

He's supposed to be
a plumber in the afterlife.

What about prosthetics?

He has a foam latex chin,
and a foam latex eyepiece.

It's very Burtonesque,
to the point where

I don't see your work in it.

You did all of this
work on your props,

but--and you put them
all on the back.

I wish you would have done
so much more to the front.

I--I do not think
it's a total flunk.

You definitely got
the part about

it being a Tim Burton character.

Your scenic work on every one

of your props is
absolutely stunning.

You think and you work
differently on the props

than you work on the makeup.

That said, probably,
you played it

a little safer
than everybody else.

Ian, thank you very much.

You can step back.

RJ.

So, RJ, give us your backstory
on this bellhop.

I don't know if he's somewhere
between living and dead,

but he's kind of stuck
in this hotel.

As you can tell, he steals

the ladies' undergarments
from their luggage.

You did a great job.

Thanks.

This whole chest piece

with the curlicues and the hat

are all fantastic.

I can definitely see him
in a Tim Burton movie.

RJ, this character is you.

I am not kidding.

I'm completely impressed
with this.

The quality of the detail,
the attention to the detail,

everything is so tight.

It's very, uh, organic, and very
architectural at the same time.

You created such a strong
character, you and your actor,

that you could totally put him

right in the hotel
in the afterlife.

And my grandma called a dresser
a chest of drawers.

I love that.

I think that
present here, in almost

every facet of your character,
is Burton's signature style.

And you still managed
to make it your own.

- Thank you very much.
- Well done.

RJ, thank you very much.

- Good job, buddy.
- Oh, my God.

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

If you'd please head back
to the makeup room

while they make their decisions.

Why don't we start with the
looks that you liked the most.

Matt's ice cream man.

I love it;
Thought it was funny.

Funny, good, dark--

I like the fact that he
brought the cone

up on the head, into the
shoulders and everything.

The use of the candy was the
most interesting thing to me.

The way he used
the candy as, like--

- The candy.
- Thousands of colors.

Why don't we move on to Rayce?

I really like this makeup.

It all just kind of blended
so beautifully together,

and it's very Burtonesque.

You can just see this character

coming out of one of
Tim's drawings.

The airbrush work
was great, I mean,

he even took it
into her clothes.

Even in bringing the musical
instrument up onto her face

by using elements of it's
design in the prosthetic,

I-- I was thrilled with it.

Everything in his
story your saw...

- Mm-hmm.
- In the makeup.

You know,
where some of them seemed

to tell a story,
and it was like, "really?"

Okay, let's move on to RJ.

I think that was so cute,
that makeup.

I really like that.

- Very high quality build.
- Oh, yeah, amazing.

It was very cleanly built.
Detail were stunning.

Extra credit for
being able to succeed

having had the last pick.

He could have been in
Beetlejuice easily--

- Yep.
- Or a world just like that.

Let's move on
to some of the looks

you didn't think were so hot.

Let's start with Sue.

It looks like a Halloween

costume that was
thrown together

the night before a party.

It is hard to believe that Sue

has seen Tim Burton
movie in the past.

She flopped on the paintjob.

It was very flat.

- It was just kind of, like--

It was quite flat, yeah.

- Like beige putty, you know?
- Yeah, yeah, yeah.

All right, what are your
thoughts on Beki's work?

Everybody else did
all this stuff,

and you made
a frickin' cupcake?

I think it's lame that
she picked one character

from a Burton film and then tied
this character directly to it.

That's not what we asked for.

All right,
let's finish up with Ian.

Boring, safe, and
therefore disappointing.

If he would have put
the work that he did

into the back on the front, it
would have been something that

was visually exciting
when the guy walked out.

You look at all the characters
are being-- "Oh, wow, wow. What?"

And this one was
just, like, there.

Creatively speaking,
it's a little bit lacking.

All right, judges,
have you made your decisions?

I think so.

Okay.
Let's bring 'em back out.

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

The top looks tonight are...

Matt...

Your character
was very well-balanced,

and it really captured
the essence of Burton.

Rayce...

Great work integrating
the profession

of your character
into the makeup.

And RJ...

Your makeup was a
very complete vision,

and had some really great
stylistic elements.

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

The winner of
this challenge is...

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

The winner of
this challenge is...

Rayce.

Congratulations.

Thank you guys so much.

Pulling pieces of the cello
up into her makeup

was an excellent,
excellent decision.

And overall it was a
very complete character.

For the first time
in this competition,

I actually win.

- Rayce, congratulations.
- Thank you.

You can head back
to the makeup room.

This thing that I've been
chasing for eight challenges

finally happens,

and I just wanna scream
right now, you know?

I feel so good.

RJ, Matt, you are also safe.

Please head back
to the makeup room.

Thank you, guys.

Thank you.

Unfortunately,
that means you three were

the bottom looks of the week.

One of you will be eliminated.

Would you please step forward?

All right, Glenn, why don't you
tell us about the bottom looks?

Sue, your makeup was a misfire
this week, and it seems like

it would have been better
on a different challenge.

Beki, you spent too much time
working on the props,

and what makeup you did present
was poorly executed.

And, Ian, your makeup was anemic
and lacking in creativity.

Who is going home tonight?

The person leaving tonight...

is Beki.

Beki, I think you have
a lot of potential.

I think you just have to, like,
get out there and do more.

Thank you.

Beki, I'm sorry that
you've been eliminated.

Would you please head back
to the makeup room

and pack up your kit?

- Thank you.
- Bye.

Good luck, Beki.

I'm gone.

Are you kidding me?

The hardest part
about leaving right now

is that I got so close to
the end you could taste it.

And... then I get to go home.

It's a once in a
lifetime opportunity.

I'm glad I was able to take

advantage of it
as far as I could.

Sync and corrections by n17t01
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