All language subtitles for Face Off - 5x02 - Future Frankenstein.HDTV.CRiMSON.en

Previously onFace Off...

Eight talented new artists

challenged
eight returning veterans

in an outrageous
fantasy challenge.

Miranda's pretty pixie
brought her to victory...

Yeah!

...and newcomer Tolin
was sent home.

Now 15 artists remain,
and tonight,

they'll tackle a pair
of classic characters.

This week's spotlight
challenge is inspired

by the most influential
movie monster of them all.

Yeah, buddy!

Hell, yes, I want to win this.

That would be so incredible.

But for some, the pressure
will be too much.

- Whoa!
- No, no, no, no.

This problem, I really
don't have time to solve.

Not like that.

Let's stop that, please.

- We're screwed.
- I know what I'm doing!

I'm getting
a little frustrated.

Really great
decision-making.

It looks very blown on.

How could I forget something
so crucial to the makeup?

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

So, it's the morning after
the first spotlight challenge.

Being on bottom looks was
very hard for me and Adolfo.

Good morning.

- How are we?
- Good, man.

I mean, it's just disappointing
that I couldn't,

like, present something better
the first time.

We'll just have to
put that behind us,

and I mean-- But now
we're more acclimated

to what being onstage in front
of those judges is like, so--

You both have so much
potential here,

so just don't let this one thing
bring either of you down.

Thank you.
Thank you so much.

- Cheers for a new day.
- Yeah, seriously.

So, it's the morning
of the next challenge,

and we arrive
at Universal Studios.

I'm psyched.
I've never been before.

We walk up, and we're
next to the House Of Horrors.

I can't wait to see what
our challenge is gonna be.

Welcome to the House Of Horrors

at Universal Studios,
Hollywood.

So, we're here to talk about
your next spotlight challenge,

which is tied to
the Halloween Horror Nights,

the scariest, most intense
and amazing Halloween event

in the country,
starting September 20th.

- That's so rad.
- All right.

The Universal Studios introduced
the horror genre

and movie monsters
with some truly iconic films,

so this week's spotlight
challenge is inspired by

probably the most influential
of them all...

Frankenstein.

Yes!

Awesome.

I grew up watching horror
and sci-fi movies with my dad,

and Frankenstein
was my favorite.

Mary Shelley'sFrankenstein
was created in 1818

as the result of a science
experiment gone awry.

Since then, the monster has
come to life in over 50 films,

including Young Frankenstein,
Monster Squad,

and the upcoming
I, Frankenstein,

which follows the creature
to the present day.

Your spotlight challenge

is to create your own
future Frankenstein...

Wow!

...and his bride,
complete with backstory.

- Oh, wow!
- Wow.

You will be working
in teams of three this week.

Your randomly assigned teams are
Alana, Laney, and Laura.

- Oh.
- Yeah, ladies, let's get it!

- All right.
- Eddie, Miranda, and Sam.

I'm immediately
a little bit nervous,

because both of them
are new contestants,

and I just hope that's
not gonna be a problem.

Scott, Adolfo, and Roy.

- We got this.
- Let's do it.

- Frank, Eric, and Rick.
- Right on.

RJ, Lyma, and Tate.

Whoo!

Stand with your teammates.

Dude.

Now, I brought
a special guest today

to give you some advice.

He's the writer and creator
of the Underworld franchise,

as well as the writer

and producer of the
upcoming film I, Frankenstein.

Please welcome Kevin Grevioux.

How you doing, McKenzie?

Good! Thank you so much
for being here.

- Nice to see you.
- I'm super excited.

I'm trying to follow in
his footsteps as a filmmaker,

so to have him here,
that's a real honor.

Kevin will be joining us
here onstage this week

to take a look
at your final creations.

Now, how can
these artists make sure

that their characters
truly impress you?

Mary Shelley
created the character

back in the early 1800s.

Using the technology
of that day,

you guys are gonna
pick a point in the future

and create something unique,
without losing the aspect

that this is still
supposed to be a monster.

Now there's just
one big piece of information

that I left out.

Oh, crap.

The top team's characters
will be featured

in this year's
Halloween Horror Nights event

at Universal Studios,
Hollywood,

and Universal Orlando Resort.

Oh, my God!

That is such an honor, guys.
We got to get this one.

That's cool.

Oh, hell, yes,
I want to win this.

And to have those characters
running around the park?

That would be so incredible.

I really want to get you

in the right mindset

while you're working
on your designs,

so I'm gonna send you

into the House Of Horrors
to sketch.

- Yes.
- Oh, cool.

And I will
see you all tomorrow.

That's if you can
get out of there alive.

Get in the house!

The Frankenstein lab

looks like it's
right out of the movie.

Oh, my God.

There's a huge
capacitor thing...

- Oh, this is great.
- ...and it's so inspirational

for what
we're getting ready to do.

I like the idea of coming
from 2040 kind of time frame.

Yeah. Yeah, yeah.

What about putting a nuclear
reactor kind of thing,

like, in the middle
of their chest?

That, or you can put it
on their backs.

Our backstory is,

Frankenstein and his bride
perished in a crash.

The only parts that are left
of them are their hands,

which bind the lovers together,

and are needed genetically
to bring them back to life.

Could be, like,
300 years into the future, or--

- 300 is good.

Our story is that Frankenstein
is from the past.

A bolt of lightning
brings him to life,

and in the future,
he builds his bride,

and she is now going to be
his source of energy.

Maybe he should have
her heart in a jar.

Ooh, there could be,
like, a tube

where the heart is kind
of floating in the liquid.

This doctor secretly
is trying to

take over
this futuristic world.

I'm kind of-- I don't know.
I'm iffy on this idea.

Do you have another idea?

Maybe if they use, like,

some sort of nanotechnology
that went wrong.

I don't quite
know what you mean.

We're already having
so many problems

just moving forward as a team,
and it makes me very nervous.

I do like the idea of it
being futuristic enough

that there's alien parts
in the data.

Or it could be a lab.

They could have
this lab in the future.

Yeah, yeah.

Frankenstein has to have
energy to keep him alive, right?

Right.

What if the radiation
from the atomic explosion

is what keeps him going?

So our concept is,
Frankenstein and his bride,

they're part of a genetic
military experiment.

The problem is,

before they finished
the prototyping process,

the bomb drops.

That same fallout activates
something in the creatures,

and they awaken,

and they have no idea
what their purpose is.

Him and his bride are two of
the only things left on Earth.

That could work.

All right, everybody,
gather your stuff!

Let's head back to the lab!

All right, let's do it, guys.

So, we get to the lab,
and we have five hours today.

First, we pick our models,

but my team left Universal
Studios without a concept,

so we've still got to decide on
one before we touch anything.

We have a scientist
and his wife, okay?

All right, she dies,
he freezes her,

then works
to get the technology

advanced enough to bring her
back out of cryo.

Okay.

Our Frankenstein monster

is only about
50 years into the future,

but then
the bride of Frankenstein

is actually going to be, like,
120 years in the future.

So if they look different,

there's a reason for them
to look different.

If you want to tackle
the female face,

I'd like to tackle his face,

and if you want to work
on his chest piece

and on her chest piece.

So, you're starting
on the face of her.

I'll start on the cowl.

You're starting
on her chest? Okay.

Laura is really
focused on Frankie,

and I'm like,
"Girl, run with it."

We still don't really have
a design for the characters,

and I'm a little nervous
because it's become evident

that I'm going to have to
take a leadership role.

Instead of, like,
doing full heads,

they could be wearing
some sort of, like, mask.

I come up with this idea
set 50 years in the future.

This couple
that's extremely in love

want to be together forever,

and they go to this doctor
to become immortal.

This doctor is actually
an evil mastermind

who is plotting to take over
the world with them.

So what exactly--
What are we-- What is this?

I have mixed feelings
on our concept.

I don't fully grasp
the entire thing,

so I just take the backseat.

I let Miranda run with her idea

and try my best
to be a team player.

Do you want to do one of the
cowls, I'll do one of the cowls?

- Yeah.
- Then I can start on the faces?

That sounds good.

In this particular challenge,
I will be sculpting

the face of the Frankenstein
creature and the cowl,

Frank is gonna be sculpting
the face of the bride,

and Rick is creating
the technology

to bring them to life.

You're the mad scientist
of the bunch, eh?

As a team, I think we're
working great together.

I'm sculpting
Frankenstein's cowl,

Lyma's sculpting
the cowl for the bride,

and RJ is rocking the hell
out of our Frankenstein face.

- Gorgeous.
- We have, like, 41 minutes.

That's time, guys!
Let's bounce!

It's the end of day one,

and our team didn't finish
their sculptures.

Good-bye, lab.
See you tomorrow.

I'm feeling a little nervous,
but I know

we're gonna pull through,
I really do.

Get it, guys!

So, it's day two, we walk in,
we have ten hours in the lab.

We have to mold
all of our sculptures

and run them in foam latex.

When you do a sculpture,
the next step is mold making.

One big batch of stone
is mixed.

You want to get full coverage
of stone all over the piece,

and then it takes time to set,
and when you release it,

you can put material into it

to keep replicating
that same sculpture.

As the day's going,
I'm helping on Laura's mold,

just trying to be
super careful,

because you could spend
all this time

making a beautiful sculpture,
and if your mold cracks,

then you have no way
of redeeming it

unless you start from scratch.

And I'm a little worried

because I am struggling
super hardcore,

trying to get this thing open,
and as I'm doing this...

Whoa!

I realize
it's starting to crack.

What?

If Laura sees this
and how bad it is,

she's gonna freak out.

Coming up...

I think that's
a little dark, Lyma.

Trust me.

- Stop that, please.
- Okay.

Lyma's not painting
realistically.

I'm trying to keep it together
and not explode.

I like your character.

The design
doesn't make any sense.

It's the second day of our
Frankenstein challenge.

I'm helping on Laura's mold,

just trying to be super careful,
and as I'm doing this...

- Whoa!
- What?

I realize
it's starting to crack.

I'm trying not to be too
panicky about it,

but it's definitely
a huge crack.

As soon as I finish
cleaning out the clay,

I'm going to try to take some
epoxy putty and mend the crack.

Then, when the foam comes out,

I might have to trim a little
bit extra around the chest area.

That might work.
I don't know.

I don't know if I can do it,
but we'll see what happens.

- Hey, guys!
- Hey!

We're here
to do a walk-through.

It's absolutely incredible
to have

Academy Award-winning artist
Mr. Westmore in the lab.

How could you not listen

to someone of that caliber's
advice?

All right,
so what is your concept?

We went into the
not-too-distant future,

but after everything
had gone awry.

The only actual part that
remained were the lovers' hands,

and from the DNA, they've been
able to reconstruct them.

This is the cowl sculpt
for the creature.

We're going
with an exposed brain,

so we have
a vacu-formed plate

that we're gonna put
over the brain.

You know,
it might be interesting

to maybe airbrush
a little fog inside of it

so it looks like there's
moisture and there's heat.

Our characters are a couple
that is so in love,

they go to this doctor
to be immortalized,

but he's trying to
take over the world

by creating
an army of these people

who have come to him
to become immortal.

Sam and I sculpted
these cowl pieces,

which are gonna be
part of the costume.

That's for the male character.

We're gonna paint both faces,

flesh-tone mixed with
a little bit of a green hint.

Could wind up
with a muddy color.

You might be better doing your
flesh tone in either a wash

or airbrushing with a green.

This is really
an interesting sculpture.

What about your coloring?

We want to patch different
types of skin,

like it was different
types of people.

You know, with the Borg,

I had a character that was made
up of different alien species.

- The patches were very distinct.
- Oh, cool.

That's what you're
gonna have to do here,

if you're gonna
make a patchwork out of it.

All right, so let's start
with your Frank character.

Okay.

He's got a battery pack

that he has to constantly
recharge,

so she's gonna be able to
charge his batteries

by holding his hand.

- When they touch, they glow.
- Right.

But we wanted to know how you
think we should cover it

or if you think that's cool.

Yeah, I think it's cool.

This just gives it
more of a mechanical look

by having that exposed

and like it's
embedded into the skin.

I think it looks great.

Tell us about your concept.

Boy finds girl, boy loses girl,

boy reanimates girl.

This is our body
for our Frankenstein.

You can see his understructure.

It has pistons in it

to operate his head movements.

What about top of the head?

- What are you doing up here?
- Probably an exposed brain.

You do realize, though,

a lot of people are doing
exposed brains.

I know, and that's why
I may not even do that.

We may decide to sculpt just,
like, a skull cap.

- Exactly.
- Yeah, yeah.

You might give the skull
a different shape,

maybe some scars in it
or something,

where the head was opened
and operated on.

- Right, right.
- But it's basically--

Seams in the bone type
of thing.

- Exactly.
- Yeah.

So, Mr. Westmore really
likes our design,

and that justifies my feeling
that we're on the right track.

All right, guys,
it's looking amazing.

- Good luck.
- Thanks, McKenzie.

- Thank you.
- Bye.

I'm happy with that.

In our concept,
Frankenstein relies completely

on the bride
to charge his batteries,

and the bride uses an umbrella
to get energy from the clouds

and weather and the atmosphere.

One of the ideas that Alana has
is that, in the future,

human parts
are fashion accessories,

so she wants
the bride's umbrella

to have the handle
of a human hand.

Luckily for us,
Tate is able to help.

Never done it
with third degree.

This may or may not work.

And we cast up his hand
using third degree,

which is a silicone material.

Just press paper towels
into it to hold the form,

and then come around
with the plaster bandage.

I don't really
have time for this,

but I would love help
from her at some point,

and I will call that card in.

After we cut it off his arm...

Thank you!

I pour a rigid material
inside the soft silicone mold

and get
a rigid hand impression.

Here you go, Tate.

That came out dope, dude,

and you can see
my fucking arm hair in it.

- Holy crap!
- I know, I know.

How are you using this?

It looks perfect, just the way
I thought it would look.

- Look how cool that is!
- That's amazing.

Come on now, give me a hand!

You just want this all done.

Miranda brings us
her Frankenstein face,

and we go ahead and mold that

while she continues
working on the bride's face.

After it's set,
we open Miranda's mold,

and the nose to the life cast
is stuck inside the mold.

- Ooh.
- That's not good.

- Fuck.
- Oh, my God!

- The nose--
- The nose broke off.

The second I see the nose,
panic sets in for me,

because what we could end up
with is an extremely thick edge

in the most important area
of our makeup.

Can you get it out?

Like, is that gonna be okay?

This problem I really don't have
time to solve right now,

because I still have
an entire female face

that needs to get sculpted,

and if I don't
get that out in time...

Ugh!

I'm screwed.

Oh, my God!

- The nose--
- The nose broke off.

- I could take a dremel to it.
- No, no, no, no, no, no, no.

I'm gonna talk to Frank.

I immediately think
to just go find Frank,

'cause Frank,
he's great at molds.

_

_

This is a lot of work for me,

and I'm gonna
continue on the bride,

'cause otherwise,
we will not have a bride.

Does it blend
underneath the nose?

I think it's around-- right
around where it broke off.

It's really hard not to get
nervous in a time like this.

This makeup was collaborative,

and a part of me
feels responsible,

so I really need to
find a way to fix this.

Do you think taking a dremel
to it would do anything?

No, it doesn't solve anything.

The thing that makes it hard is
that even if they get it out,

chances are, it's not
gonna be in one piece.

- Sorry, guys.
- It's cool.

It could be okay,
but it's a gamble.

There you go.

I really need to make the wig.

It's gonna be
pretty hard to construct,

because I want to have all
these glowing lights on it.

I want it to look a lot like
Laura's sketch that she did.

I'm thinking of adding more of
them, like one, two, three,

and then two
going down the back.

Do it, yeah.
The more, the merrier, right?

It's just gonna be
a really long process,

and I'm starting to think maybe

I didn't give myself enough
time, but I got to get it out.

I feel like Dr. Frankenstein
in this lab.

I'm having to go scavenge
for parts and pieces

that I can use, just like our
character would in our story.

The backpack
that I'm fabricating

will be used
as their life force,

and the guys are saying,
"Run with that."

They're pretty badass.

Is this EL wire
all through this?

Yeah.

To make it look like they glow?

Yeah.

EL wire is
electroluminescent wire.

It's basically a portable neon.

I thread it
in between the coils,

where it actually looks like
it's a heating element.

- Eddie?
- Yeah?

You're being really careful
with that, though, right?

Yeah, yeah.

It's a perfect fit,

and we're gonna cut
the nostrils out anyways.

The nose of the life cast was
only a minor setback

because I ended up putting
some epoxy putty on the nose

to get it back to the cast,
and that works.

30 minutes, guys!

Hey, Roy.

Okay.

By the end of day two, I'm
just-- I'm kind of indifferent.

I don't really feel like
I'm pushing the envelope,

I don't really feel like I'm
putting in any creative input.

Time!
Time's up, everybody!

It really sucks, 'cause this
is not what I'm here to do.

Time to rock and roll.

It's application day.

We only get four hours
to work in the lab.

That means apply, build,
and finish everything,

and then we have one hour
of last looks at the stage.

Check out how thin this is.
The foam came out perfectly.

Holy crap!
That's nice, man.

Now it's just a matter
of doing an amazing paint job.

- Hi, nice to meet you.
- Nice to meet you, too.

Man, we got some great stuff
for you today, dude.

You're going for this
kind of big S&M look.

So this is my cowl.

Because
I didn't have enough time,

my mold wasn't prepared
properly,

so my cowl does not
come out right.

It's in a million pieces.

Grab one of the cowls,

pull it over your
understructure, right?

That way
you can put this on it,

and you can glue it down
to the understructure.

It'll hold it together.

I'm a little concerned,

but the good thing is,
it's Frankenstein.

They have stitches.

It's all skin
pulled together anyway.

I have to make it seem like it
was meant to be that way.

Application day is crazy.

There's just-- there's so much
to do in so little time.

At this point,
we just have kind of

a base color on these faces,
so I'm scrambling,

painting like a madman,

just trying to stay optimistic

that we're gonna be able to
bring our character together.

- You don't want that on him?
- Not like that.

- Let's stop that, please.
- Okay.

I mean, I love you, girl,

but I think we got different
philosophies about paint.

Lyma is painting these very
wide, airbrush-y lines,

and this is not how you paint
realistically.

Yeah, you got it.

I'm looking over
and I'm seeing things

that I would do different.

I think that's
a little dark, Lyma.

- No! Trust me.
- My eyes work.

It's dark.
It's black.

I mainly do body painting,

but Tate expects realism,
which I am not used to doing.

We're screwed.

We're trying to work
as fast as possible.

I'm trying to work on her back,

Scott is
trying to work on her face.

It's hard to work on the same
model at the same time,

so I'm getting
a little frustrated.

We don't have time
to do all this.

We can do this then.
I'm sorry.

No, no "Sorry,"
I'm just about--

- I understand.
- I know what I'm doing!

I can't work on the face
while he's doing the back,

and I guess my tone is snarky,
'cause he gets pretty pissed.

I'm just trying to
keep it together.

- How long do we have?
- Six minutes, guys.

That's time, guys!
Let's go!

If Adolfo
and I can't get it together,

I'm highly concerned that we
could be going home.

Coming up...

How could I forget something
so crucial to the makeup?

Really great
decision-making.

I like your characters.

You missed an opportunity
to be much more creative.

It's last looks.

We have one more hour,

and we have to finish
these makeups.

This is very stressful.

There's still a lot to do.

We still have to finish
our entire paint job.

- Roy, do we have Krazy Glue?
- I don't think so.

I'm trying to put these tubes
on the female character.

We try every type of glue.
It's not working.

They won't stay.

They're just, like--
they're just popping.

At this point,
I'm really worried

that I'm not painting the
female character the right way,

but I'm doing my best.

We slide the bride's cowl on.

Just carefully, keep going.

And we're trying to stretch it

so it's not hitting
the makeup...

- Wait, wait, wait.
- Ooh!

And we get a tear,
so I try my best to patch it.

Time!

Oh, my God, you look awesome.

Time's up, and I forgot to
put the bolts in the head.

How could I forget something
so crucial to the makeup?

If anyone on our team
has to suffer for that,

it should be me.

Welcome to
theFace Offreveal stage.

Tonight, one of you
will be eliminated.

First, say hello to our judges.

Owner of Optic Nerve Make-Up
Effects Studio, Glenn Hetrick.

- Good evening, guys.
- Hi, Glenn.

Three-time Oscar-winning
makeup artist Ve Neill.

- Good evening.
- Hi, Ve.

And Neville is unable to join
us today, but we have actor,

writer, and producer
Kevin Grevioux back with us.

How you guys doin'?

Kevin, thank you so much
for being here.

Your spotlight challenge
was to create

your own futuristic
Frankenstein and his bride.

Let's take a look
at your monsters.

This is just a wonderful
collaboration,

and I'm very proud of us.

Our characters
really do look cool.

Just, when you compare them
to everything else,

they're just a lot simpler.

Our monsters look okay
from a distance,

but you never know what the
judges are going to like.

Our monsters
have this cute chemistry,

and I'm very happy with
how they look as a couple.

It doesn't look to me like
it was a group effort.

It looks like too much
individuality

is trying to come through.

Well, judges, it's time to
get up close to the monsters.

That's wild.

I've never seen
that kind of detail.

Like little braces
or something.

Our characters, I love them,

but the judges
might hate everything.

Let's see you emote
through that makeup,

and let's see
how well it moves.

- Oh, nice.
- That's nice, the eyes.

I want to see
what's on top of your head.

All right, cool.
Thanks.

_

_

Okay, turn to the side.

Okay, now this is just wrong,
guys.

Yeah.
It's very patchy.

I'm nervous.

I know, if we're
on bottom looks,

it's Eddie and I
on the chopping block.

I want to see
the range of motion.

Let's see your back.

Bionics. I like that.

And turn around.

I like the arm.

Yeah.

That's cool.

Come all the way around.

See, all the pistons move,
which is cool.

Come back around.

All right.
Thank you.

I love this big, giant,
purposeful edge.

That's a great detail.

_

Oh, I see.

The jaw is
in the wrong place, guys.

Put your head down.

I wondered
what these holes were for.

I see the judges pointing out
missing pieces,

like the bolts
on top of his head,

and that is the makeup
that I was responsible for.

I just don't want any of my
teammates to have to pay for it.

What do you think of
tonight's monster couples?

Tell us on Twitter,
using #FaceOff.

I just wondered
what these holes were for.

Those rivets on top
were my responsibility,

so I'm a little nervous
about that.

She looks much better far away.

They blew it
with the paint job.

- I agree.
- That's too bad.

They're doing this cool,
stretchy burn victim.

The survivor of a plague
or something.

- Yeah.
- Thanks.

Okay, Kevin,
you told these guys

what it would take
to impress you today.

- Are you impressed?
- I am.

These guys did an amazing job
of meeting the challenge.

Thank you.

The judges would like to
speak with each of you

to find out more
about your work.

Alana, Laura, and Laney,
please step up.

Please tell us the story
of this couple.

A mad scientist buried
a corpse in the ground,

then lightning struck
and regenerated him.

He had to find another power
source, so he created the bride,

and she is the charger,
and he is the battery.

Neither one
can live without the other.

The face and the cowl
was sculpted by me.

I sculpted the face on her,

and I sculpted
the brain on Frank's head.

Alana and I tag-teamed
the scars and scrapes on her.

- Laney did the wig as well.
- They're a great couple.

You've kept her beautiful

against the contrast
with your Frankenstein.

Her face is lighter than the
rest of her body. It pops out.

Really great
decision-making

in terms of how you balanced
those makeups.

- Well done.
- Thank you.

Ladies, I love the paint jobs.

I love the modeling
on both of them.

I think they look
really good together.

- Congratulations, ladies.
- Thank you.

When I first saw the design,
I didn't think

they looked like
they belonged together,

but upon
hearing your backstory,

I see why you made the choices
that you did.

- You guys did a good job.
- Thank you so much.

You can step down.

Sam, Eddie, and Miranda.

What was the concept
behind your design?

Our concept is about a man
and woman who are so in love

that they want to be
together forever,

so they approach a doctor

who performs an experimental
immortalization procedure,

but this doctor implanted
a mind-control device

to create an army to
take over the whole world.

Right.
Now, who did what?

I sculpted, painted,
and applied the two faces,

Sam sculpted
the female headpiece,

and Eddie sculpted
the male headpiece.

I think you missed
an opportunity

to be much more creative.

It's too Borg-inspired.
It's a little on the nose.

Who did the hands, by the way?

I did.
I sculpted hers.

You sculpted them,
and did you apply them as well?

- Mm-hmm.
- Ooh, not such a good thing.

Her hands aren't painted
the same color as her face.

And did you mean to have tubes

coming out of that
other hand as well?

- It was a time issue.
- Okay.

Miranda, I think with his face,

there's some great subtlety
and nuance

to some of the bumps and
textures that are going on,

but I do not like the bride
of Frankenstein's head here.

It is bulbous.

The design
doesn't make any sense.

Okay, you can head back.

Thank you, guys.

Roy, Adolfo, and Scott.

Could you please
tell me your backstory?

This is our doctor.
This is the woman that he loves.

She dies unexpectedly.

He works at a cryo lab,
and stores her so, hopefully,

in the future,
he can bring her back.

He dies, and another scientist
builds him a robotic body

and covers him with flesh.

Since his head was severed,

he has pistons that help him
move his head around.

I like your character.

It looks like his shoulders
are square,

but his head is offset because
of the way you have the collar.

That's really cool,
the way you did it,

and I'm glad that
the arm's articulated.

That's really cool as well.

I like the tubing
coming from her brain.

Who thought of that idea?

The bride's energy
is coming from the tubes

to her chest, heart, back.

It's also meant to
symbolize hair.

I think that's interesting.
Good job.

With the female,
you've gotten caught

between making her really
horrifying or really beautiful.

The Frankenstein, I love the
idea of moving that shoulder

and the way his arm is hidden,
but he's so top-heavy.

So, mixed bag for me
this week, guys.

Thank you.
You can step down.

Tate, RJ, and Lyma.

Let's hear the backstory.

Well, Third World War,

scientists cull the bodies
of dead soldiers

and create super soldiers
out of those remnants,

but the scientists don't
finish the project.

Humanity has perished.

They find this book,
which is the notes

of the biomechanics
of the creatures themselves.

We've been calling them
"Adam and Eve."

There's some really strong
sculptural ideas

with Frankenstein.

On the female, however,
not so much.

There's a lack of logical
decision-making

in terms of the anatomy.

That is exacerbated
by that paint job.

That contrasty airbrushing
would never hold up on camera.

And who painted which makeup?

Tate started
the pre-paint on the cowl first,

and then Lyma applied and
painted the girl character.

Okay, Lyma, I got to ask,

are you primarily
a body painter?

- Yes.
- Okay.

It's very evident
in this makeup

that you do a lot
of airbrushing and,

unfortunately,
it doesn't look organic.

It looks very blown on.

- Thank you.
- Thank you, judges.

Frank, Rick, and Eric,
please come to the center.

All right, guys,
so what's your backstory?

They are actually terraformers
in a future world,

and they have a crash,

and the only parts left are
the hands of the two lovers,

which they use
to reanimate themselves.

I sculpted the male,
and Frank sculpted the female.

What's with the jawpiece?
It doesn't fit him properly.

I thought it might be funny
to have his lip showing,

so I suggested maybe glue it
a little higher.

Dude, what were you thinking?

You thought his lip
would be funny showing,

when his whole chin's
hanging out of a chinpiece?

One more question.

There's all these little dots
around the top.

Yes, that's 100% my fault.

There was meant
to be rivets on there.

That was something
that I forgot to do.

Well, that's too bad.

That would have been
really cool.

I like it.

I think
they look good together.

They share skin tones.
That's important.

- Good job.
- Thank you.

On the female, I think
that the application

is handled really well,

and I love the subtlety
of the sculpture.

However, I don't understand

what's going on
with Frankenstein.

He either looks really,
really, really sad

or absolutely confused,

and that's because of the way
that the eyes are sculpted,

and that's a huge problem
for me.

Thank you.
You can step back.

- Thank you all.
- Thank you, judges.

Okay, will you please
head backstage

so the judges can make
their decisions?

Let's talk
about tonight's looks.

Why don't we start with Alana,
Laura, and Laney?

I think as a team,
it was very successful.

I thought the bride
really stood out.

Everything was highlighted
and lowlighted

exactly how
it should have been.

It's about the face for me.

That's the best thing
about that team's makeup.

Okay, let's move on to Adolfo,
Roy, and Scott.

I really liked the paint job
on the bride.

There's beautiful color accents
all over.

It was really nicely done.

Yeah, I actually liked

some of the more interesting
things they did

with the
Frankenstein character--

The attached arm,
the use of hydraulics.

I really liked the way
his head was offset.

Yes. Creating all those layers
on that guy really worked.

Okay, let's move on to Eddie,
Miranda, and Sam.

I don't think we could have
asked any more out of Miranda.

The sculpts are very nice,
and the color is very nice,

and that seems to be all her.

A much as I
loved the headpiece,

that seemed to be
Eddie's thing.

Not quite sure how Sam
participated in all of this.

She sculpted the headpiece
on the female.

It was bulbous, it lacked
detail, it lacked anatomy.

She sculpted those weird
little pieces on the arms.

They weren't even glued
and blended in,

and then there wasn't even
any hoses in the one of them.

Okay, let's move on to RJ,
Lyma, and Tate.

The Frankenstein character
was my favorite.

- The makeup told a story.
- I liked him, too.

The "Eve" paint job
was unacceptable.

Those hard color transitions,

that's not what
we were looking for.

I absolutely agree.

Okay.
Frank, Eric, and Rick.

Eric said that
he didn't have a chance

to put the rivets on top
of the head, which I think

really would greatly
have helped that makeup.

The way that the eyes are
sculpted, he looks bewildered.

It makes no sense to me
whatsoever.

Judges, have you
made your decisions?

- Yeah, we have.
- Let's bring them back out.

So, Glenn,
tell us about the top teams.

Actually, there was just
one team that stood out

above all the others tonight.

So, Glenn, tell us
about the top teams.

Actually, there was
just one team

that stood out above
all the others tonight.

Alana, Laney, and Laura.

Yeah, girls!

You had a lot of good things
going on for you tonight.

They were fun
without being silly,

and the paint scheme
was beautiful.

Congratulations.

As the winners of this week's
spotlight challenge,

your characters
will be featured

in this year's
Halloween Horror Nights events

at Universal Studios,
Hollywood,

and Universal Orlando Resort.

I just want to cry.

This is the most
overwhelming experience.

My piece is going to be
at Halloween Horror Nights.

Great job, ladies,

but as you know, we can
only have one winner.

The winner of tonight's
challenge is...

- Alana.
- What?

That's awesome, dude!
That's so rad!

We had to pick
one thing that we liked best,

and that was the face
of the bride.

- Congratulations.
- Oh, wow.

I feel great.

All this hard work
I've been doing all year

is really paying off,
and I'm so proud of myself.

Alana, you and your team are
safe and can head backstage.

Thank you.

Sam...

Eric, Lyma,

unfortunately,

you are on the bottom
this week,

and one of you will be
eliminated.

The rest of you are safe.

Will you please head backstage?

Please step forward.

All right, Glenn,

why don't you tell us
about the bottom looks?

Lyma, we realize that you made

significant contributions
to your team,

but your paint job was just
too harsh and unrealistic.

Eric, with that Frankenstein,

we really didn't like the way
that the eyes were sculpted,

and the missing rivets left
your makeup feeling unfinished.

Sam, your bride's cowl sculpture
was strangely shaped,

and the hand sculpts were
less than impressive.

So, who's going home tonight?

The person going home
tonight is...

Sam.

Unfortunately, it seemed that
you didn't participate enough,

and what we did see from you
this week, we had issues with.

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

Eric, Lyma, you're safe.

Will you please head backstage?

Sam, we did enjoy
having you with us,

even though it was a short time,
and it seems that

you've got a lot of passion.

It's just a really,
really tough season.

There's a lot
of great competitors.

I had a great time,
so thank you for that.

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

If you'd please head backstage
and pack up your kit.

Bye, guys.
It was nice to meet you.

- Good luck.
- Take care.

Thank you.

It sucks to have my
time up so soon.

I really wanted to show
what I could do individually.

- No!
- Bye, guys.

No!

I've learned so much.

This is such
a humbling experience.

I had so much fun
meeting all you guys.

This is definitely
a challenging competition,

and I didn't realize how intense
this was gonna be.

I'm definitely
not giving this up.

This is my dream,
and I know I can do it.

I'm sad that I'm going home,

but I already feel like
I've won just getting here.

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