Face Off (2011–…): Season 13, Episode 1 - Face Your Fears - full transcript

.

[dramatic music]

- "Face Off" is back
and the game has changed.

Some of your favorite artists
have returned,

but this time, they'll be
battling head-to-head.

- It's on.

? ?

- This is
"Face Off: Battle Royale."

[cheering]

[exciting music]

? ?



- "Face Off" is back, baby.

I'm Kevon, and I was
on season nine of "Face Off."

Last time I was here,
I had this tendency

to go very big and weird,

and this time I'm gonna avoid
those things completely

because that is
my danger zone.

I've grown tremendously
as an artist,

so let's see
what's gonna happen.

? ?

- My name is Jordan.
I'm from season nine.

My last time around

I was cut short right
before the finale,

but it's not gonna
happen this time.

Since leaving "Face Off,"
my best friend and I



created our own show
about redneck zombies.

This time around
I'm looking to make

all of my creatures
twice as good as the best one

that I did on my season,
and I'm ready to prove

that I've got what it takes
to make it all the way.

- Dude, what's up?

- Hey!
- Oh!

? ?

- I'm Derek, and I was
a finalist on season three.

On my season the audience
picked the winner,

and I still wonder,
if the judges picked,

if there was gonna be
a different outcome.

Being a finalist
gave my career a big boost.

I've been getting a lot of work
on TV shows,

commercials,
and I just got off a movie.

My biggest success, however,
has been my son, Lucas.

I'm grateful to be back, and I
fully intend to win this time.

? ?

- Sasha!
- Damien!

Whoo!

- I love monsters,
and I'm so ready to be here.

I'm Kelly.
I'm from season eight,

and I'm kooky and crazy.

Oh, kooky Kelly!

But this time
I want to make it to finals.

Conceptually,
I've always been good,

but when it comes
to time management,

it's definitely something
I need to check myself with.

I get a second chance, and I'm
not gonna [bleep] this up.

? ?

- I'm Walter, and I was
a season ten finalist.

Since the competition
I was hired

to do a bunch
of really cool demos,

and I taught
some workshops in China,

but my career just isn't
where I want it to be.

Losing the finale
was a major blow

because I put out
my best makeup

and it wasn't good enough.

This is my second opportunity,
and I don't want to waste it.

? ?

- Mel is back in the building.

I'm Mel,
and I was on season ten.

After my season I actually got
to work on a film

and a video for Kanye West
as a designer,

and I'm excited to apply
that practical knowledge

because being eliminated

just before the finale
is real motivation.

I'm bringing my A-game

and trying to freak out
a little less.

I'm still gonna freak out,
but it's gonna be a little less.

- Walter Welsh.
- Melter Skelter.

How are your little legs
so much faster than mine?

[dramatic music]

- All right.
- Kevon.

Mel: We walk out
and see McKenzie.

My heart starts racing
a little bit

because she's gonna tell us
what's coming next.

- Hey, Graham.

? ?

- Good evening, All-Stars,

and welcome back to "Face Off."

- Whoo!
- Whoo!

- Since this is
our 13th season,

your challenges
will explore the mysteries

of the number 13, superstitions,
and the supernatural.

[indistinct chatter]

And because you're All-Stars,

we're introducing
a whole new type

of competition this season:
battles.

? ?

- What does that mean?
- All right, so here's

how this is gonna work.

In every challenge
you will compete head-to-head

against another artist,

and the judges
will choose a winner

and loser from that battle

to determine each week's
top and bottom looks.

Kelly: It's about to get crazy.

I'm nervous as all hell,
but I am so ready.

- Now, because we do need
even numbers

for this competition,

we won't be eliminating
someone every week.

Instead, we will eliminate
two of you every other week.

? ?

- On my season there was never
any double eliminations,

so I don't know
what that's like,

but it sounds pretty brutal.

- So how about we get

into your first
Spotlight Challenge?

- Yes.

- Unconventional design
and outside-the-box thinking

are at the heart
of the filmmaker

at the core
of this week's challenge,

visionary director

and creature designer
Guillermo del Toro.

- What?
- What?

Damien: It's super exciting.

I'm a huge del Toro fan.
I love all of his movies.

I really want
to make something

that looks like it can live
in his world.

- Now, Guillermo's iconic
creations like the Pale Man

from "Pan's Labyrinth"

and the Angel of Death from
"Hellboy 2" follow the idea

that in order to make
a truly terrifying character,

you have to break up
a human form.

Now, this design mantra
has allowed him

to create truly
unsettling characters,

helping his work tiptoe

that fine line
between horror and fantasy.

So for your first
Spotlight Challenge

you will each be choosing
a classic fairy tale character

and rearranging
their human form

to make a terrifying creation

that would feel right at home
in a Guillermo del Toro film.

- Okay.
- What?

[laughter]

- Fairy tale creatures
are awesome, but del Toro?

That's sweet.

I'm really excited
to get into it.

- So next to me are 12 masks,

2 for each
fairy tale character,

so when you choose a mask,

you're not just selecting
a character

but also your competitor
for this challenge.

Yvonne, you're up first.

? ?

- J.M. Barrie's Tinker Bell.
- Oh.

? ?

- Hans Christian Anderson's
the Little Mermaid.

? ?

- The Gingerbread Man.

- J.M. Barrie's Captain Hook.

- Kenneth Graham's Mr. Toad.

- The Gingerbread Man.

? ?

- Mr. Toad.

- Humpty Dumpty.

- Tinker Bell.
- The Little Mermaid.

Graham, it's on.

- Humpty Dumpty.

- [laughs]

- Captain Hook.

? ?

- All right, so our
head-to-head battles this week

are Yvonne versus Matt,

Mel versus Jordan,
Graham versus Sasha...

- You're going down.
- Ooh.

- Damien versus Jo,
Walter versus Kelly,

and Derek versus Kevon.
- Watch out.

? ?

- All right, guys,
it's time to get started.

Spend some time
in this beautiful place

to work on your designs tonight.

Good luck, everyone.
Bye.

- Bye.
- Thanks.

- Bye.

? ?

- All right.
- Who'd you get?

- I got the, uh, Tinker Bell.
- Nice.

- I'm Matt,
and I was on season two.

After being on "Face Off,"
my career blew up.

I started a company where
we cater to the haunt, horror,

and theme park industry,

and I've really evolved
as an artist

with cleaner makeup

and much better
conceptual design.

I like to be referred to
as a conceptual assassin,

so we'll see what happens.

I get J.M. Barrie's
Tinker Bell,

and I want to do
a very abstract beauty makeup

with classic swirls

that del Toro puts
into his makeups,

and I'm going to remove
her eyes to give it

that elegant yet twisted
horror look.

I want to make
a huge statement

with this first challenge.

? ?

- Who do you have?
- Tinker Bell.

I'm Yvonne from season ten,

and I made it pretty close
to the finale.

I really want to push myself
farther than I did last time,

and I've definitely been
refining my skills,

especially with
realistic makeups.

Everything before
that I doubted myself,

I'm more confident,

and so hoping
that brings me all the way.

My concept for Tinker Bell

is Peter Pan forgot
about her in Neverland,

and she died
from a broken heart,

so I want to make her

the scary ghost character
without eyes

because she cried
her eyes out.

I'm trying not to focus
on what Matt is doing

or overthink
the whole battle thing,

but it is very intimidating,

so I'm gonna stick
to my gut instincts

and just make
a cohesive character.

Welcome to Tinker hell.

? ?

Damien: My name's Damien.

I was on season seven,

and it's been a awesome,
awesome ride since then.

I've gotten to work
on all sorts of productions,

including "Sharknado 3,"

and I've been a full-time
painter at Immortal Masks.

I've taken in a lot of new
information and techniques

and pushed myself
a lot further,

so I think
I might have a chance

if I push myself hard enough.

So I chose Mr. Toad,
and the concept that I land on

is that he's a snooty,
car-driving toad.

I want to give him
some frog eyes,

and then I'm gonna
make my model

see through the nose,
and I'm battling Jo.

I know that she's
a fantastic artist,

and I know that she's gonna be
a good contender.

? ?

- I'm Jo. I was on the very
first season of "Face Off."

It's really exciting
to be back.

It's almost like
a weird daydream or fantasy.

The competition definitely
kick-started my career.

I had the opportunity to work
on the first three seasons

of "American Horror Story,"
which was really fun.

It's an honor to be considered
an All-Star,

but it's a little
nerve-racking knowing

that everyone is here
for redemption, essentially,

so it is a battlefield.

Mr. Toad was a dirty bird.

- Yes.
- He did many bad things.

I chose Mr. Toad.

This is a character that's
always getting into trouble,

so he's going to be
a prisoner style of Mr. Toad.

I'm going to drop
the eyes down

to get that abstract feel

of these Guillermo del Toro
characters,

and I'm trying to show
the judges something

that they can go,
"Well, that's interesting,"

and really draw them in.

- Oh, yeah, ooh, look at that.
That's fun.

I'm Sasha.
I'm from season seven.

Since competing on "Face Off,"

I've gained a lot
of experience,

but the coolest thing
that I did was one

of Heidi Klum's makeups
for Halloween.

I'm expecting
some intense challenges

because we're all
experienced now,

but I'm ready to take on
whatever is thrown at me.

? ?

I got the Little Mermaid.
I'm so excited.

I want to create gills
and really beautiful shapes

that remind me
of Guillermo del Toro.

She wants to live on land,
but she still has this tail,

so she's in a wheelchair.

I would really like to win
this first battle,

and this is totally up
my alley,

so I'm really hoping
that I can pull off

what I'd like to pull off.

? ?

- Well, it's me,
Graham Schofield.

I'm from season six,
and since I've been gone

I phased out
of teaching makeup

and landed a job
being the lead painter at one

of L.A's bigger prop houses.

I'm battling Sasha,
and thinking

about her creating a mermaid
makes me intimidated

because she has
a fantastic style,

and this is not
my type of makeup,

and I'm not sure the direction
I need to go.

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

I really need to impress
the judges to make them think

that I deserve to be
on an All-Star season.

- Hey, guys, let's go.

- I feel my heart beating
a little bit.

I really don't want my first
impression to go down bad.

? ?

McKenzie: The winner
of "Face Off: Battle Royale"

will receive a VIP trip from
Kryolan Professional Make-Up

to one of their 85
international locations,

an all-new Fiat 500,

and $100,000.

.

[exciting music]

? ?

- Remember this?
- Yeah, kind of.

We're just getting into
the lab, and it's awesome.

? ?

There's a whole new lab in here.

Being here is crazy.
It's been so long.

Looking at the products,

we have so much more
than what I had before.

? ?

- All right, you guys want
to come pick our models out?

- Oh, yeah.
- Let's do it.

? ?

- This is
a really cool challenge.

I picked J.M. Barrie's
Captain Hook,

and I want the cowl shape
to be the--

that shape
of the captain's hat

and have the hand curling
into the shape of a hook.

- I like that. I like that foam.
- Yeah? Thanks, man.

I'll check out yours.

- I'm feeling nervous
because I think Derek

is about to execute
a very powerful makeup,

so I really have my work
cut out for me.

Instead of him being
so creaturesque,

I'm thinking he did
all the alterations himself.

I have this idea
where Captain Hook

has taken skin grafts
from a crocodile

and surgically attached them
to his face

in kind of a protective fashion.

He also uses the hooks
to pull all this back.

- Oh, got you.

- Graham,
how's your mermaid going?

- Oh, yeah,
I'm doing a mermaid.

- I'm almost done.

? ?

- To know that you're battling
one of your friends,

it's a strange feeling
'cause, you know,

you might send them home
from doing too well,

which I don't mind doing.

Graham-style mermaid,
we're gonna take

the beautiful part
and put it on the bottom,

and take the fish,
put it on the top.

I'm thinking about Abe Sapien
from "Hellboy"

and "Hellboy 2," so in my case
I'm making a Babe Sapien.

- [gasps]
Oh, it's so cool.

I love it.
- Thanks.

I don't think she loves it.

I think that was patronizing.

? ?

- Take out some aggression.
[grunting softly]

Humpty Dumpty was given
to the gods representing life,

but Chaos shattered it
on the ground,

so the gods couldn't
put it together,

but evil could.

So the pile of shell and guck

comes rising up
into this demon.

It can get corny,
so I have to do it right.

Yeah, I like that.

? ?

- Welcome back, everybody.

- Hi.
- Hello.

The Oscar and Emmy award-winning
Michael Westmore comes in.

He's the man, and it's nice
to get a little bit of feedback.

My idea is he's
a very noble knight,

but he has that disease
when people's bones

are very fragile
and they break,

and they're always
putting him back together again.

- It's got a lot of detailing
and texturing here

that if you can get some
pre-painting done on that...

- Yeah, absolutely.

- It would be wonderful.
- Mm-hmm.

- My basic concept is

to have the face
be Gingerbread Man but scary,

so I am going to remove
the eyes

and put them in the hands
so she can look like

the pale monster
from "Pan's Labyrinth."

- You've got
a great start here,

but I think you
could even accentuate

because that's gonna
be very subtle

when you finally
get that into latex.

- Yeah.

- So I got
the Gingerbread Man.

- Whoa, okay.

- I'm looking to make a fat,
disgusting cookie.

He's been bitten apart,

starting to decay
and get real moldy.

- Just make sure you have
enough of a roll

so it just looks like it's...

- On top of each other, yeah.
- Laying on top of it, yeah.

- I got Mr. Toad,

so I dropped the eyes
extremely low,

put the nose in the middle
of the forehead,

and he can see through
these pockets.

- In just first looking at it,
I get the idea

that they're peeking
through there.

Maybe make a additional one
or two so it--it's--

- A little bit more distracting
to the eye?

- 'Cause--yeah, exactly.
- I selected Tinker Bell.

Peter Pan ends up
forgetting about her,

so she dies of sadness
and a broken heart.

- I'm just wondering if all this
is a little too cutesy.

You want to give it
a little bit of horrific

a la del Toro and type--
those type of characters.

- Right, yeah, okay.
- Bye, everybody.

- See you.
- Bye, thank you.

- Thank you.

? ?

- That's time, guys.

- Whoo!

- Yeah!

? ?

[both screaming]

- Today is the crazy day.

I've got the biggest piece
in the room,

which means it's gonna take
the most time to mold,

so I really got to focus today.

? ?

- Since I have
a slip latex pull of the face,

it is a great opportunity
for me to hook it to the cowl

because I want it to appear
at a glance

that he has stretched
his skin back to form,

like, this weird,
gnarly smile,

and I think it's gross
and really cool.

? ?

- When I think
of a gingerbread man,

I think of him
having gumdrop teeth,

so I take the denture teeth
we have in the lab,

and I put them in a cup
with flocking.

They'll give the teeth
the fuzzy look.

Then I put a little bit
of glitter on top,

and they look exactly
like gumdrops.

I love it so much that I'm
gonna do the same thing

with the nose and eyeballs.

- It's so real.
- I know.

- That's awesome.
- It feels like it too.

- Yeah, like,
I just want to eat it.

? ?

- Spatter city.
- Yeah, getting there.

As my cowl mold's setting up,
I jump into pre-painting.

I start basing it out
with a nice light green,

like, yellow color.

So I know greens,
usually there's lots of, like,

reds and purple undertones,

and just start
going to town trying

to make this thing
look like a toad.

- That's amazing, Damien.
- Thanks.

? ?

- I have less than 20 minutes,

and my mold's
not even cured yet,

but I got to get
this baby out.

But I realize I have a lock,

and I'm like, [bleep].

? ?

I have one major piece,
so I'm just beast-moding it,

just hammering it
as hard as I can,

and I can't get this to open.

If I don't have
this ready in time,

I don't have anything to put
onstage, and I'm screwed.

? ?

.

[exciting music]

- I realize I have a lock,
and I'm like,

I got to get this baby out,

and I'm just hammering it
as hard as I can.

I'm talking woman power,
just oomphing that in.

[mold pops]

Finally I rip it apart,
but time's running out,

so I've got to drag
this baby outside

so I can power wash it.

Kevon: You got 13 minutes!

- I don't know if I'm gonna
get this out in time.

- Can I help?
- I would love some help.

All the sudden people keep
rushing from all directions,

scraping and spraying,

but I'm cutting it close.

- 2 1/2 minutes.
- Here, here, here.

[water rushing]

man: 45 seconds.
woman: 45 seconds.

[overlapping shouting]

- Whoo!

Oh, man.

Just in the nick of time.

Thank you, guys.
You're the [bleep].

- Well done.
Well done to all of you.

Kelly: I'm feeling so relieved,

but I also have no idea

how my piece is gonna
turn out tomorrow.

? ?

[indistinct chatter]

- Whoo!

? ?

- These are nasty.
I like them.

? ?

- Ah! Whoo!

- Is that the sound
of the models?

[both squeal]

- Dude, good to see you.
- What we got going on today?

- You're gonna be
this frog man.

Derek: Before I apply
all my pieces,

I need to make a crazy
hook hand out of silicone.

Ready?
- Ready.

Derek: I put some armature wire
on the long fingers

so I could bend it
in the shape of a hook,

and I just have him
lay his hand in the mold.

All right, perfect.

Got a glove.
- Sweet.

- Trying to blend that
into this

and make it look the same.
- Right.

- It's gonna be
quite a challenge.

My face is silicone.
My cowl is foam latex.

I have to somehow blend this
perfectly in together

so that you can't tell
the difference,

and that's a hard thing to do.

So I've got to do

all these different layers
on the foam latex

just to meet the translucency
of the silicone.

It's so hard
to blend this foam.

? ?

Kelly: Because there was still
some clay in my mold,

there's definitely
some patchwork

and big chunks to fix.

Thankfully, my sculpt
is really jagged,

so I think this can work.

Like Bob Ross says,
there's no mistakes,

just happy accidents.

- Okay, okay, looking good.

I'm spending extra time
on applying the face

because this is my main piece,

and I really want to make sure
that it's perfect.

- What?

- Matt's piece is looking
really cool,

which is very intimidating

'cause he's my battle partner,

so I'm hoping once I paint it

that it'll definitely
bring out more scariness

to this character.

? ?

Matt: I'm painting my model
head to toe,

and that is a lot of work.

I start base-coating
with Kryolan Aquacolor.

Then I start mottling
with a light brown

to get in all the shadows
and features.

I do believe
I'll get all this done.

At what quality, though?

That's the ultimate equalizer.

? ?

Jordan: With this
Gingerbread Man,

the paint's gonna be
really essential,

so I start off by laying down
a dark brown

and then dry-brushing a white
over top of that.

After that I go into all
the bite wounds on him

and start laying down
this real moldy blue color.

It's really starting
to look pretty nasty.

If I pull off the rest
of this paint scheme

the way I've got it in my head,

I think I've got a shot
at winning this battle.

? ?

- I need to start painting
some of my darker color in.

For my color palette
I'm thinking greens

and iridescence,
but it's not exactly working,

and I'm just covering her
in paint

trying to figure out
a direction to go with it.

I want to make you greener
on the outside

and paler on the inside.

The idea was to keep it natural,

but I'm putting
so much paint on it.

I don't know what I can do
to save this.

? ?

- I feel way behind.

Time is running out,
and I'm pretty worried.

I'm battling Kelly,

and it looks like she got
a lot of painting done.

- All right, guys, that's time.

- Whoo!
- Ooh, so slimy.

- Leaving the lab, I have just
the base coat on my makeup,

but we'll see what happens
in Last Looks.

I just got to do better
than Kelly.

[dramatic music]

? ?

- Go ahead and have a seat, man.

We have one hour
in Last Looks,

and that hour goes by
like lightning.

I have to dress my model

and just finalize
last-minute touch-ups.

Dude, I think your pants
are at the lab.

And then I go
to dress my model,

and I realize that the pants
are not there.

Oh, my God, I--ugh!

You cannot be a badass-looking
Hook without pants.

Does anyone have black pants

they're not using?
- I have something.

I think you could use it.
- Thank you.

I cut it up.

I wrap it around
my model's legs.

I tuck it into his boots,
and I think I dodged a bullet.

This is such high stress.

? ?

- I'm gonna work on your lips.

This is battle number one,

and it's very important for me
to make a statement,

so I'm doing some more textural,

organic features
onto my character

to really bring home
that del Toro accent.

? ?

Mel: Time is flying,
and I'm putting

my Gingerbread Man eyes
in the hands,

but I'm nervous
because I don't know

if it's enough to be
a winning makeup

because Jordan's makeup
is looking really cool.

Just, like, hold it there
for a second.

- All right, guys, 15 minutes.

? ?

- That's time, guys.

- Holy moly.
God, dude.

Sasha: Time is up,
and I'm really worried

because this is not
what my vision looked like.

I don't think I have a shot
at all of winning this battle.

This is--it's not
what I wanted it to be.

.

[suspenseful music]

? ?

- Good evening, All-Stars.

Welcome back to the "Face Off"
Reveal Stage.

You know our very talented
series judges.

Owner of Alchemy Studios,
Mr. Glenn Hetrick.

- Hello, it's nice to see
all of you back again.

- Hey, Glenn.

- Oscar and Emmy award-winning
makeup artist, Ms. Ve Neill.

- Welcome back, dudes.
[laughter]

- And of course,
creature and concept designer,

Mr. Neville Page.

- Hello, guys.
- Hey, Neville.

- Now, before we see
your creations,

I have a huge surprise for you.

We have a very special guest
joining us tonight.

He's an incredibly talented
actor and one of Hollywood's

most sought-after
creature suit performers.

He also happens to be
a frequent collaborator

of Guillermo del Toro's...

- No way.
- Having starred in many

of his most iconic films

like "Hellboy," "Hellboy 2,"
and "Pan's Labyrinth."

Please welcome a member
of the "Face Off" family,

the incomparable,
the amazing Doug Jones.

[cheers and applause]

Yay! Hi!
- Hi.

- Yeah!

Doug Jones?
That's--le swoon.

This is so cool.

- Ah, it's so good
to have you here!

- It's so good
to be back here.

I'm so glad you mentioned
the family

'cause every time
I come back here to the show

I feel like I'm joining
family again...

- You are family.
- So, thank you.

- Aw, you're so sweet.
- Thank you, sweetie.

- Hi. Hi.

McKenzie: We ready
to see some makeups?

- I'm never not ready
to see makeups.

- Fantastic. All right.
Let's get to it.

Go ahead and have a seat.
- Thanks.

? ?

Hi.

- All right, let's get to it.

For your first
Spotlight Challenge,

we asked you to select
a classic fairy tale character

and rearrange its human form

in order to create
a terrifying figure

that would feel right at home
in a Guillermo del Toro film,

so let's take a look

at your frightening
fairy tale characters.

Yvonne and Matt,
you're our first battle.

? ?

Yvonne: This is really crazy
seeing mine

and Matt's makeups revealed
at the same time.

Seeing them compared
side by side,

I don't feel like I met
the marks for this challenge.

? ?

Matt: I think my character
reads pretty well,

but Yvonne's makeup
is also really good,

so it could be anybody's game.

? ?

Damien: I'm super stoked
with Mr. Toad.

He looks great.
I'm feeling really confident.

Definitely would love
to win this.

? ?

Jo: It's really cool to see
these characters side by side

because it really shows you
how the concepts can go

in completely
different directions

but stay within the same world.

? ?

- When I compare
the two makeups,

I'm thinking,
just as far as impressions go,

there's more intrigue to mine.

? ?

Sasha: Seeing it onstage,
it's kind of cool, it's fun.

She's in a wheelchair,
but it's not

what I would have liked
to see out there.

? ?

Walter: He looked great.

It's a total package,
complete character,

and I think it's much more
of a makeup than Kelly's,

so I'm hoping the judges
see that as well.

? ?

- I really love
my character,

but Walter put
a lot of work into his,

so I hope that mine
screams del Toro.

? ?

Derek: I think mine definitely

has that kaiju aspect
of "Pacific Rim."

They're both
pretty cool makeups,

so it's gonna be tough
for the judges to pick.

? ?

Kevon: I know I strayed
outside the box,

but my painting is solid.

The application is solid.

It's my concept that is either
going to make me the victor

or the vanquished on this one.

? ?

Jordan: I can see all
the detail that I put into it.

I can tell that that cookie
texture's on there.

Both makeups look great.
I just really have no idea

what the judges are gonna pick.

? ?

Mel: I feel confident
in my makeup.

They could not look
more different,

but they share a world,

and it's interesting
seeing them together.

? ?

- Okay, judges, go ahead
and take a closer look

at tonight's makeups.

? ?

- Can you smile?
I want to see what happens.

Oh, interesting, yeah, okay.

- She almost looks wooden.
- Yeah.

Doesn't feel very realistic

or authentic
from a skin perspective.

- You know what these swirls
are a callback to

is the Faun
from "Pan's Labyrinth."

Nice del Toro touch.

- I love the palette.

- Conceptually,
it's very much in line

with what they were asked to do.

- In fact, these are almost
less eyelike than those to me.

? ?

Pretty authentic as him
being patched together.

- Doesn't go with his challenge,
but it's still a cool makeup.

- Yeah, yeah.

- Can I start by saying
Guillermo del Toro?

- Those proportions from the
side are absolutely gorgeous.

- It's awesome.
- Wow.

- Oh, my God, there's, like,
a giant yolk in the back.

- I'm confused
when I first look at it,

but it's detailed as heck,
right?

- Yeah.

My biggest concern
is this does not feel

like it's from
a Guillermo del Toro film.

? ?

- Looks like somebody's
been eating the gingerbread,

if you know what I mean.

- Yeah.

- The utilization of really
comic proportion here,

I think that's
very well-intentioned.

- Thank you.

? ?

- The judges have chosen
the winners

and losers of each battle.

Let's find out
who came out on top.

- I'm so scared.

- In battle number one,
Yvonne versus Matt,

the winner is...

? ?

All right, guys,
it's time to get on Twitter

and tell us who made
your favorite frightening

fairy tale character
using #faceoff.

.

- In battle number one,
Yvonne versus Matt,

the winner is Matt.

[applause]
- Thank you.

McKenzie: In battle number two,
Jo versus Damien,

the winner is Damien.

[applause]

In battle number three,
Graham versus Sasha,

the winner is Graham.

[applause]
- Happy for you.

- In battle number four,
Walter versus Kelly,

the winner is Kelly.

[applause]

? ?

In battle number five,
Derek versus Kevon,

the winner is Derek.

[applause]

And finally,
in battle number six,

Jordan versus Mel,
the winner is Jordan.

[applause]

? ?

Congratulations
to all our victors.

Now, before the judges
choose the overall winner

of tonight's
Spotlight Challenge,

they would like to speak
with some of you

to find out more
about your work.

Matt, please step forward.

? ?

- Hello, Matt.
- Hello.

- Tell us about the concept
behind your Tinker Bell idea.

- I know the origins
of fairies

had a very dark beginning,

so I wanted to infuse that
by creating the eyeless look

and bringing some
of the cranial structure out.

- This is a perfect example

of knocking something out
of the park.

- Thank you.

- It feels exactly like
it comes

from a del Toro film to me,

really well done and a lot
of super-original thinking.

- Thank you.

- You didn't go overboard
on the shimmer.

She just has a slight glow

and the nice feminine quality
across her face.

You did a fantastic job
this week.

- Thank you.

- Having played a couple of--
a few--well, a lot

of Guillermo del Toro
characters,

this is a beautiful blend
of so many of them.

The elements of nature
with the forest-like bits

on her, very del Toro.

Beautiful job tonight,
seriously.

- Matt, please step back.

? ?

- Good job.
- Thanks.

- Kevon, please come forward.

? ?

- Tell us how this guy
came together.

- I wanted to create
some skin grafts on him

from the crocodile.

I wanted it to surround his face
in a protective fashion,

and he also, as a captain,
wants to be very decorative.

- Upon first view,
I was confused.

- Okay.

- I just think it's
an overall concept issue for me,

especially in
a Guillermo del Toro challenge.

I just don't know
that his thumbprint's

on this particular piece.

- Thank you.

- This is just
a cacophony of ideas,

shapes, textures,

all good things,
but it's like, okay, Kevon.

We've seen everything
you can do in one dish.

Now let's reduce it down
to just a few flavors

and really enjoy those senses.

- Okay.

- Kevon, please step back.

- It's great advice.
Thank you.

- Thank you.

? ?

- Kelly?

? ?

- Tell us about the concept
of this Humpty Dumpty character.

- The gods were given a gift
in the form of an egg.

Chaos got to it first,

and it cracked,
and it shattered.

The mass of goo and shells
just rose up and created this.

- There's a lot of really
beautiful things about this.

You've taken this time,

and you've really
applied yourself,

and you've grown
in your creative concept.

Beautiful ideas,
really enjoyed the storytelling.

- Thank you so much.

- This is a face that doesn't
have a whole lot of movement

in it, but this time
it doesn't need it as much

'cause he's got so much
going on in it as it is.

You sculpted a beautiful
and eerie

all at the same time,
very much Guillermo del Toro,

so I think you hit
the assignment right dead on.

- Thank you.

- As much as I like it
from the front,

I like it just as much
in profile,

and it's something
that's extraordinarily unique.

I've never seen it before.

- Thank you.

- Kelly, you can head back.

? ?

Yvonne, please step up.

? ?

- Tell us the concept
behind your Tinker Bell.

- Tinker Bell ended up dying
from a broken heart

because Peter Pan forgot
about her in Neverland,

and she cried her eyes out.

- I don't see how this
is a del Toro character.

? ?

The look on her face
is so fixed,

she almost looks like
she's made out of clay,

and it has, like,
a tree quality to it.

It's a very bizarre concept.

- The anatomy feels
very sketched in.

This is not your best work.

You've got to get straight quick

and start giving us
your best stuff.

It's a tough season.

- Yvonne, will you please
step down?

? ?

All right, thank you, guys.

Will you please head back
to the makeup room

while the judges deliberate?

? ?

All right, judges,
so let's start

with your favorites tonight.

How about Matt?
Doug: I loved Matt's.

It was reminiscent of
characters I've actually played

for del Toro
both in "Pan's Labyrinth"

and "Hellboy 2," and it was
a nice homage to him.

- See, I think that's just it.

It has the capacity
to be an homage

without being a direct rip-off,

and the shapes combined
with the palette

gave it this appropriate
haunted feel.

- Okay, let's talk
about Kelly's work.

Ve: It was so cool and bizarre,
really neat.

- It felt movie-ready to me...
- Yeah, it did.

- And very del Toro movie-ready.

Neville:
She had a strong story,

and the consequenting result

was a very harmonious
character design.

- All right, so,
judges, as you know,

we're not sending
anybody home tonight,

but let's talk about
the bottom looks

because we will be sending
two people home next week.

Let's start with Yvonne.

Glenn: That extraordinarily
distorted makeup

was her confusion manifest
in the sculpture.

She just didn't know
where it was going.

Ve: It was very Halloween
mask-y, like a rubber mask.

Glenn: Yeah.

- There was nothing mobile
about that at all.

- And finally, Kevon.

Neville: It's just
too much stuff.

- It's a shame,
because had he slowed his mind

and picked a few things,

he could have been
very successful.

There's some beautiful work.

He's capable of beautiful work.

- Guillermo del Toro's monsters
have personality,

and this one,
I didn't see personality

'cause you couldn't focus
on a face

to find the personality.

- All right then, judges,
have you made your decision?

- We have.
- Yes.

- Excellent.
Let's bring them back out.

? ?

Welcome back, guys.

Before we announce the winner,

I want to fill you in

about what exactly
is at stake tonight.

In this season's
non-elimination challenges,

like tonight,

there will be a major prize
on the line.

The winner will receive the help

of an industry expert
in the next challenge.

They will be working
side-by-side with you designing,

sculpting, fabricating,
whatever you need help with.

Matt: I'm really excited
for this.

I think it's
an awesome opportunity

to have someone
of that caliber

and experience at your side.

- So let's find out
who has won this amazing prize.

Glenn, who is the winner
of this challenge?

- The winner of tonight's
challenge is...

? ?

.

- Glenn, who is the winner
of this challenge?

- The winner of tonight's
challenge is...

[suspenseful music]

? ?

Kelly.

[applause]

This thing performed on every
level for this challenge.

His features were interrupted.
He was terrifying.

He was del Toro,
and the Humpty Dumpty aspect

just came screaming through,
absolutely terrific work.

- It's my first win ever.

- Yes.
- Yeah.

I am so overcome with joy,
and I'm in shock.

I didn't win
a single challenge my season,

and to win the first challenge
in this All-Star season

really feels like I'm here
for a reason, and I'm proud.

- Kelly, congratulations.

I'll introduce you
to your expert

when we kick off
your next challenge.

And, Doug, thank you again
for joining us.

[applause]
- Thank you. Thanks so much.

I love you guys.
Thank you.

- All right, guys, why don't
you go home and get some rest?

Because you are going to need it
for your next challenge.

Good night.

- I'm gonna do whatever it takes
to win this next battle.

I know the judges are expecting
way more from me,

and if I lose another battle,

I'll be on the chopping block
and going home.

- Next time on "Face Off"...

- Do you remember when you were
afraid of monsters

under the bed?

- Monsters.
Okay.

- This guy gets to get his hands
dirty with me.

- Ugh!

I can't afford to be
the battle loser.

- I literally have nothing.

.

- Action.

- Previously
on "Face Off: Battle Royale"...

- You will be creating
whimsical characters

who will star in
a Wonderland-themed short film.

- It's a wonderland!

- I feel great

we don't have to resculpt
any of our pieces.

- It needs to look
more like a fox.

- Yeah. I have no idea
how this is gonna play out.

- You want to win $100,000?
- Yeah.

- Then make the best damn
gingerbread man I've ever seen.

- This challenge has been
one long nightmare.

- And, tonight...

- John has made a big change
to the script.

- Ouch.

- This is just
the worst news possible.

- Let me know when you're ready.

- Adrenaline's flowing
through me,

and I'm just really hoping
that this isn't the one thing

that's gonna keep me
from winning this whole thing.

- Quiet on set!
Action!

- This is it.

My heart's going
a million miles an hour,

but nothing's gonna stop me
from winning this whole finale.

- This is where
we'll actually be shooting.

- I need this.
I'm hungry for it,

and I really, really want this.

- The winner
of "Face Off: Battle Royale"

is...

- This
is "Face Off: Battle Royale."

[cheers]

[exciting music]

? ?

- All right, guys, now that
you've gotten your feedback

and you've seen
your characters on camera,

you'll have two more days
to revise and re-create

your makeups
before filming starts.

John, I thought
they did pretty well.

What do you think?

- Think you guys did
really well.

There's a little bit of work
still to be done,

but I think we're gonna
be okay.

- Before you all head home,

John has made a big change
to the script.

- Of course.

- He has an idea
that will elevate

the final film,

and it involves you guys
each making a third character.

- Ouch.

[chuckling]

This is a lot of pressure.

It's just taken it
to a whole new level,

and I'm really nervous.

- This is just
the worst news possible.

Now
I have to restart two makeups

and then dump another one
on top of it.

I can't think
of any worse of a scenario.

- So here's
the general idea, guys.

As Alice moves
through the mirror,

she herself is gonna change,

and our real-world Alice
is going to evolve

into something
that's better suited

for your individual scenes.

- Now, John has revised
the scripts

to include
some brief descriptions

on how Alice appears
in each of your scenes,

and he will be coming by the lab
in the morning

to walk you all through it.

In the meantime,
we obviously know

that this is a big deal,

and we're not gonna
leave you hanging.

Let's get you some more help.

- Where are they at?
- Guys, come on out.

? ?

[applause]

- Welcome back.

- Okay, you each get to pick
one more teammate.

Jordan, you're first.

- Jo.
- Yay!

Hello, everybody.

- Matt, you're next.
- Sasha.

- Congratulations.
- And, of course, Walter.

- You're stuck with me.
- Aw.

- Good to see you, man.

- All right, I do have
one more surprise for you.

- [groans]
- It's gonna be good, though.

I promise.

We have
a very special guest judge

joining us
for this season's finale.

He's one of the most prolific

and accomplished makeup artists
of all time,

ranking inside the top-ten list

of people with the most
all-time Oscar wins.

Seven-time Academy Award winner
Rick Baker.

[cheers and applause]

- That's so awesome.

This is awesome.

To have Rick Baker judging
one of my makeups

in the finale for "Face Off,"

this is a dream come true.

- All right.
I will see you all on set

in a few days.

Good night,
and good luck, everyone.

- Thank you.
- Hell, yeah.

- Rick Baker, dude.
That's cool.

[upbeat rock music]

? ?

- Alice emerges from beneath
a table with a velvet cover

and finds herself
in a throne room.

She looks down at her hands,
which look like

those of a wooden toy.

So we get to the lab today
and read the script,

and we find out
that it's a wooden Alice,

and that, to me, screams
very toylike,

a lot of textures,

and I'm really excited
about this take.

- Good morning.

- Good morning.
- How you guys doing?

All right, so,
dropped a little bombshell

on you guys last night.

Where you guys at?

- We wanted
to keep the feminine side,

but we also wanted to bring
that toy aspect, and wooden,

so we wanted to bring in
a little bit of filigree in here

and do some grain texture.

- Okay.
Without me having to say much,

you're already on
the right path.

I do have this one shot

that I'll repeat
throughout the film

that's a POV shot

where she does need to look down
and realize that, like--

"Oh, my God.
I'm not me. I'm a toy."

You come to set.
You have to be ready to go.

I have a very,
very tight shooting schedule.

All right.
- Awesome.

Get back to it.
I'll see you guys later.

- What about her face?

Do we have any ideas
what we want to do?

I'm just gonna sketch some--

might as well have something,
you know?

- Right now,
I'm not exactly sure

what to do
with the Alice character,

so I'm really looking forward
to a consult with John

just so that I really understand
what he wants.

- So you guys are kind of, like,
rebooting a little bit.

- Mm-hmm.
- Where are we at

on terms
of those two creature designs?

'Cause that will help inform
a little bit more of your Alice.

- This is kind of more so
the direction

we're gonna take
the Ginger General.

- The General?

- So he'll be way more lovable
and more like a cookie.

- Okay, I love that idea.

I see that you guys
have redesigned her,

so that's good.

- So, she, like, kind of has,
like, a lollipop.

That's her, like, bun,

so we want to keep the form
on a ballerina.

- Right.

- And then
we're gonna give the silhouette.

- Okay. Let's talk a little bit
about new Alice.

- Yeah, kind of going with,

like, a soft fondant
kind of character,

giving, like, a doll face.

- Okay.

- Or, like, make it
cool stylized icing.

- Exactly.
- Fun stuff like--

- That's exactly it.
Like, icing, dessert--

that's just integrated
into your makeup design.

- Okay.

- I have all the faith
in you guys.

- Absolutely.
Thank you so much.

- Appreciate it.
- Yeah.

- From Alice's point of view,

she looks around
at giant mushrooms and flowers

and down to see her hands
are now covered in a light fur.

- Howdy, howdy.
- Hey, how's it going?

- Tell me a little bit
what you guys are thinking.

- So we were thinking a bunny.
- Bunny.

I like it.
I like it.

- Can even do, like,
a flat mold with silicone,

where she has,
like, little pads.

- Mm.
- Oh, yeah.

- That mimic,
so that it looks like her hands,

but they're sort of
bunny-ing out.

I like that

- It can be paws
or whatever you want to do,

but just make sure
she can hold something.

All right.
I got to get out of here.

Get back to work.

- Yeah, it was good
to see you, man.

- Good seeing you.

Good morning,
and good afternoon.

- The most important thing
for us to do

is to knock out
these two characters.

We've got so much on our plate
with Ginger General

and Lollipop Ballerina

that I really want to get those
out of the way.

So Derek's gonna get started
on the Lollipop Ballerina cowl,

while I start
on the Ginger General face.

And since we already made arms
for the Ginger General

but didn't get to run them
in foam,

I really need Yvonne to get
those molded as well.

She'll look very candy-like.

I don't want the Alice to be
as much of a failure

as our first characters were,

so I have Kelly coming up
with some basic ideas

to build off of,
then, hopefully,

we'll come up
with something cool.

? ?

- After our camera test,

I feel great knowing

that we don't have to resculpt
any of our pieces,

so we're really looking
at building up on a foundation

that we've already created,

and, to me,
that's where you can bring it

to a whole new level.

As far as, like,
everything up here goes,

I know
you want to do your filigree.

- The filigree there.

- I want to sculpt
brand-new arms

for the Tin Jester
and a chest piece,

and, for our Alice character,
we are going to have to sculpt

a cowl, a face,
and some joints for her,

and also a bunch of filigree

that we'll implement
in all three characters.

Even though
we have a head start

because we didn't have to
restart anything,

we still got a lot to do.

? ?

- I'm feeling pretty good
going into the next two days.

For Alice, we're going with
the bunny character,

so I'm having Kevon start

sculpting the face
and the ears.

Mel's working on the face
for the fox character

to give it more fox feel
that John was looking for.

Jo is working on putting
together a upper-body fox suit,

making sure
that it's fitting down nicely

to the mannequin form,

and I'm working on sculpting

this large leg piece
for the grasshopper character.

We can run one mold of it
for both sides of his legs.

It's really important
that we get

a lot of these pieces
done today

so that we can come in
on day two

and be ready
for application day.

- Paint it up?
- Hell, yeah.

- Cool. I'll get that done.
- Awesome.

- One hour, everyone!

? ?

- All right, guys.
That's time.

It just needs to be popped open
tomorrow

? ?

Let's see how this came out.

- It's day two of our finale,

and we really need to focus
on the Alice character.

I think we should stay away
from, like, the center.

- Okay.

I still want her to look
human and beautiful,

but I really want to frame her
face with filigree frosting,

and I want
the hair to look like fondant.

Gonna have
Derek take over the face

and Kelly work on the hair.

In the meantime, I'm gonna get
the Ginger General cowl done.

I like the new direction a lot,
so I'm really hoping

that we have time
to do all this.

- I think maybe even putting
some lines on her lips,

kind of like wood--
just very subtle.

- Definitely.
Definitely.

- We still got a lot to do.

So, while I'm working
on Alice's face,

Graham's fabricating
the jester staff,

Damien is finishing up
molding the arms,

and Sasha is working
on filigree,

but she's also working
on the ball joints for Alice.

Time management is very crucial,

but I think I'll be able
to get everything completed.

? ?

- That's the first one?

- Mm-hmm.
- Oh, nice.

It's really nice
to have all of our pieces

before our application day,

so we can get everything
pre-painted as much as we can.

- I think
we can get everything done.

We just got to [bleep] hustle.

- Really helps
having Mel along by my side,

making lists,
and keeping things on track.

- Oh!
- Yeah!

I'm getting
more and more psyched.

I'm really thinking
I could win this whole thing.

- We are at 30 minutes exactly.

? ?

- That's time.

? ?

Everything just seemed to
stretch out longer than planned,

and it really left no time
for pre-paint.

I really want to come back
from this complete redo,

and I want a chance at $100,000.

.

[fast-paced break beat music]

- Whoo, whoo, whoo!

- Our team gets to apply first,

since our scene
is gonna be shot first.

I'm both excited and nervous

for our last chance
to get these characters right

and hopefully take
that win home.

- Jo, can you grab me an apron?
- Yeah.

- Oh, it's so weird
no one else is here. Aah!

- Jo and Mel are gonna be
swapping back and forth

between
the fox character and Alice,

while Kevon and I work
on the grasshopper.

- Greetings.
- Morning.

- How you guys doing?
- Good to see you.

- One of the girls
is gonna start on you.

I'm gonna finish
fabricating some pieces.

The grasshopper needs
a lot of spikes

to go up and down
his arms and legs,

so I'm making them

by rolling little chunks
of friendly plastic

and then spraying them green.

Once everything's applied
and painted,

they'll fit into the foam.

- Our biggest revision
has been removing the pants

and making
full grasshopper legs.

All the pieces we made really
gives him that plated bug feel.

Now I got to pull off
the super-detailed paint job

and make everything
flow together.

[crunchy rock music]

- Everything feels okay?

- Yeah, it feels awesome.
- That's good.

So, after I get
Alice's face applied,

I start to lay hair on the fox

and just filled
a big, furry cowl

to match the suit.

There we go.

The hardest part is making sure

that all the hair's going
in one direction

and getting it in
as smooth as possible.

Something like that?

- Yeah.
- Okay.

? ?

- Is that lined up?
- Feels like it.

- In the script,
Alice looks at her hands,

and she sees
that she's growing hair on them,

so they're a very big
focal point for this character,

but it's difficult getting them
to lay down nicely.

- Ugh.

This is so thick.
We should've just gotten foam.

It's not going down
the way it's supposed to,

and it just looks
wrinkly and old.

I have to fix this,
and we have no time at all.

I'm blending them
the best I can,

but I have to stop

because I'm burning through
all my paint time.

I'm gonna move on from this

'cause, like, your face
is still not painted.

The hands are important,
but your face is more important.

- How much time do we have?

- 26 minutes.
- Damn.

I'm gonna coat the inside
of that cowl real quick.

- Cool.

- In the last few minutes,
things are hectic.

There's brushes
flying everywhere.

We're tripping over things.

Alice is falling behind
the most.

- I need an airbrush.
I need an airbrush.

- But all these characters
have to be camera-ready

before we get to set.

? ?

That's time, guys.

Time's up.

We done it.
- Thank God.

- It's really nerve-wracking
leaving the lab.

This is the last time
to really impress the judges,

but I'm really happy
with how this came out.

I came back
so that I could take

the entire competition,

and I'm feeling pretty confident
in winning this whole thing.

? ?

We arrive to set
at this giant mansion.

Everything looks so crazy.

- All right, guys--Jordan--
well done, well done.

- We've got Rick Baker
standing there

with all three of the judges.

This is the moment
that we've all been working for.

- We're gonna get down to set.
Get shooting right away.

- All right.
- Let's do this.

- The adrenaline's flowing
through me right now.

I'm pretty amped,
and I'm ready

to get these characters
on camera.

- Let's bring in our fox
and grasshopper, if we can.

- It's pretty cool to be on set

and see
all the behind-the-scenes

of how everything is going.

- You're so handsome.
- [laughs]

- Our
giant grasshopper character,

he has
that very dapper feel to him,

and just to see
a full bug character

there, that we made,
is awesome.

You guys are awesome.
- Back to one, please.

One more.

- And--
let me know when you're ready.

Fantastic job on this.
- Thank you.

- Your grasshopper is sick.
- Thank you.

- Mark.
- Action!

- Look out!

- I like the color palette
on the grasshopper.

I think that he works
really well all over.

- The ground is clearly uneven.

- I think
the false grasshopper leg

works really well too.

- Yeah.
I do love that tweaked mustache.

- I do too.
That's so great.

- Camera cuts! Great job!
Let's move on!

Makeup team,
look at Grasshopper, please.

- The grasshopper--

his knee
literally just fell off.

I'll glue it on for you
real quick.

It won't take long at all.

- Unfortunately,
we're out in the hot sun,

so our characters are sweating
all their pieces off.

We have to do a lot
of touch-ups on our characters

and as fast as possible.

So at this point,
I'm just really hoping

that this isn't the one thing

that's gonna keep me
from winning this whole thing.

I think he's looking good.

- Looking good.
- All right, let's go.

Let's do it. Fox, stand-by.
Stand-by. Let's go.

And action!

- Look out!

- I like the teeth.

- It looks like he has
a really nice animated mouth,

and it doesn't feel
just stuck on.

- Mm-hmm.
- Camera cuts!

That's perfect.
Fantastic work!

- It's time
to start filming Alice.

? ?

I'm kind of worried

'cause Alice
is our weakest character.

- My concern right now
are these hands.

- Yeah.

- What are some options
that we have

to make this look better?

- Alice's hands
aren't ready for camera.

It really sucks.

John is disappointed
with the character,

so we have to figure out
how to revamp the hands

and get them ready for film.

- You have five minutes, okay?
Let's go.

- We grab some four-way stretch
for her,

stretch those
around her forearms.

Where's those gloves at?

- And we grab some white gloves,
slip those over her hands

and start cutting holes
in those

and having some hair poke out
here and there,

just to really kind of sell

as much of the rabbit idea
as possible.

She got furry arms now.
[laughs]

- Camera sets.
And action!

- Where am I?
- The profile is beautiful.

- She does have a great profile,
doesn't she?

- Yeah,
she looks very cute in it.

- Okay.
That's good, that's good.

- I'm a lot happier now
with how Alice is looking,

and I feel like
John's pretty happy

with the characters
that we've given him.

And I'm just really excited
to see it all put together.

- Yes, yes, yes.
Keep going, and cut!

- Nice.
That was awesome.

- Yeah.

- All right, guys.
Listen up, listen up.

That's a wrap
on our garden scene today.

Congratulations.
Well done, team Jordan.

- So, at the end of the shoot,

I'm proud of the makeups
that we accomplished.

- I'll see you guys later.
Thank you very much.

- Thank you.
- Yay. Thank you, guys.

- I couldn't have asked
for a better team.

They were just so happy,
so energetic the entire time,

and they had my back
through it all.

I know our team put our all
into this finale,

so I think I've definitely got
a shot at winning.

[all cheer]

.

[upbeat rock music]

? ?

- It's Valentine's Day.

I choose to own this day

and look at each one
of these makeups

as the last makeup of my life.

Yeah, I think it'd be good

not patching these up at all,
man, like--

- Yeah.
- Should be good.

The plan is to have Graham
finish out the fabrication,

Damien start pre-painting
the jester,

and Sasha just start
finishing up the cape,

and I'm going to patch the seam
and pre-paint Alice's hair.

This is the most work
I've ever done

in this season or any season,

but I've got more than enough
fellow team members

to help me
knock this out of the park.

? ?

- Aah!
Aah!

- Hey.
- Congratulations.

- Thank you.

- So, we have some jobs
for you guys.

- I just really need to start
getting this Alice together.

Dude, I hope we get
all this done in time.

We have so much to do.

This Alice paint job is gonna be
very time-consuming,

so I really need
to get these pieces on

and the base coat of paint

so I can start painting
all the designs.

? ?

- Is this looking all right?
- Oh, yeah, it's badass, man.

- So far, I'm really happy
with the way

the paint job is turning out
for the Tin Jester.

I think
we have a really good base.

That's good.

We still have to age it

and add some rust
and a little bit of detail,

so I still have
a lot left to do.

[upbeat rock music]

? ?

- I'm trying to pull this edge
as far as I can get it,

so it's nice and tight on him.

- The face
on the Porcelain Prince

is coming up a little further
than we wanted

over onto the cowl.

Should we just cut this
right here, do you think?

So we decide
to just cut that piece away

where the crack is,

so it seamlessly blends
into the cowl

without having to apply
another piece.

- Open this up, trim it off,

and then glue it down
underneath.

? ?

- One hour left.
- Aah!

[fast-paced metal music]

- Time is running out.

Sasha and I have been working
on the Alice face.

And then Graham calls for help
for the Tin Jester.

- I'm just all over the place.
I'm, like, scatterbrained.

? ?

That's time, everybody!

- Whoo!
Last "Face Off" makeups ever.

- Yeah!

All three of our characters
look really good.

I'm just hoping
that all these makeups

hold together
and nothing's gonna stop me

from winning this whole finale.

[cymbal shimmering]

[upbeat rock music]

? ?

We drive up to set,

and it's a beautiful view
of Los Angeles,

but I'm full of nerves because
I'm about to put my makeup

in front of Rick Baker,
and that is intimidating,

but it's also an honor

to have this icon
look at something I created.

- Good to see you again,
brother.

- You too.

- This looks great.
- Thank you.

- Look at this.
I love it.

- That's fantastic.

- All right.
Follow me inside.

Let's make this happen.

? ?

Welcome to set.

- Awesome.

- We walk in,
and all the filigree work

in all the design
of the architecture

just screams, like,
"Alice in Wonderland,"

and it feels like
my characters would exist here,

so I'm really excited
to see them move around

in this new environment.

- Our first setup
is Alice is on the throne.

She's gonna come down,
run towards the mirror.

- Mark.

- Quiet on set!

Action!

- Hear, ye, hear, ye?

- The sculpture of the hair
manages to say,

"This is carved out of wood."

- I love the filigree
for the eyebrows.

- Yeah, it's very well done.
These guys did their work.

- Guards!
Guards!

- Camera cuts!
- Still kind of cool.

- We really got to make sure
that thing comes out.

- The pull string has to work

to sell
that she's a hard wooden doll,

but we made the rope so long
that it still stays in.

- Let's just make it
so it comes out a little easier.

- Okay. So we go in,
and we cut the rope down a bit.

- Just cut my excess off here
like that.

- Make sure
it doesn't get in the zipper.

As we're doing that,
Sasha's working on touch-ups.

- We're good, John.

- And we all hope
that it works better this time.

- Action!

- Guards!
Guards!

- There we go.
- Yeah.

- It works.

The Porcelain Prince
pulls it out.

It looks great.

It accomplishes
what John wanted

and what we set out to do.

It's just, we got to be ready
to keep making changes

like this
throughout the whole day.

- It's been ages!

- The sheen is perfect on this.

It really has
a nice porcelain quality.

- That's an impostor!

- That Jester makeup is so good.

- The accordion-like activity
of the waist and the head,

it looks like
it's a bouncing spring.

- Camera cuts.
Fantastic. Let's go.

God, your makeup's good.
- Thanks.

It's amazing to be able to
see these characters on film.

It makes me proud.

It makes me happy of myself
and my team

and what we've accomplished.

- All right,
let's finish strong.

Check her hands.
Make sure they look good, okay?

- The last shot of the day
is the most impactful scene.

Alice crawls out
from under the table,

looks at her hands,
and sees the wood grain,

and she's been wearing it
all day,

so I'm really stressed
about that.

- How we doing?
- Just doing a little touch-up.

- We don't even have
any more of that paint,

so we end up
using a Kryolan pencil.

Fingers are crossed.

- Let's do this.

Action!

- Alice sits up,
looks at her hands,

and it's perfect.

All the paint's still on.

I don't know how it happened,

but her hands are amazing.

- Cut.
That was fantastic.

- I've never seen someone
so enthusiastic

about the work that I've done.

John was, like, beating me up.

Smacking me on the arm,
like, real bro-friendly,

and that's really cool.

- That's a wrap for today.
Thank you very much.

- Whoo!
- Team Matt.

Awesome job.

- That's a wrap.
It's out of my hands.

It has been a whirlwind
of whimsical fun.

Bring it in.

And I'm so proud
and so happy for my team.

I couldn't have done it
without them,

but until I hear
my name called,

I'm not done yet.

.

[dramatic rock music]

? ?

- This is application day.

I'm feeling very nervous
and a little overwhelmed.

That looks pretty cool.
- Yeah.

- Standing between
me and winning

is three great applications

followed by
three great paint jobs.

Ouf. Edge City over here.

- Really?
- Yeah.

You got your work cut out
for you.

? ?

- Hello.

How's it going?

- Good, how are you?
- Good to see you.

- Oh, whoa, cool.

- It's a total switch-up
from fat suit.

- Yeah, a little bit different.

- Our game plan
is I'm gonna pre-paint

the Lollipop Ballerina
cowl,

Derek's gonna stay
on Ginger General

and make sure
he gets completely painted,

Kelly's gonna be taking care
of all the little details,

and I really need Yvonne
to focus on Alice

and getting these incredibly
terrible edges to work.

? ?

- Alice's hair
is an intricate design,

and cutting out the curls

and making it smooth
like frosting

is taking way more time
than I'd like it to.

It's just [bleep] tedious.
- I know.

- I'm like, "Cool that I did
a cool, intricate sculpt,

but damn it, Kelly."
- Yeah, I know.

- We got to call it good enough
at a certain point

and start painting.

? ?

- Here we go.

The Alice facepiece
came out really, really thick,

so I have to apply Cabo-Patch to
every single edge on her face.

It's gonna be a while
before you can open them.

In a perfect world,

this process shouldn't take
too long,

but this is taking
a lot more time

than I anticipated.

- The Lollipop Ballerina cowl

came up and wrinkled
in the front,

so I grabbed some L200,
I shape it into a tiara

to cover up that fold.

It's creating a wrinkle in here.
- Oh.

- So what we're gonna have to do
is just hide it with this.

- Okay.

- From here, he could probably
get in his wardrobe,

since we're down to an hour.
- Okay.

- I'm really happy
with Ginger General,

but what's not coming together
are the other two characters.

There's almost no paint
on either of them.

It's crucial
that we nail this last hour.

? ?

That's time.

When time's up,
the Ginger General looks

so incredibly awesome,

but Alice and the ballerina
still need a lot of work.

This is not where I want to be.

I haven't given up,
but we got to rally

and fix it later on set.

? ?

- Look at that.

- We get out of the van, and--

- Let's just take a bite.
- You look sweet.

- I'm very surprised
everyone seems

to really enjoy our makeups.

It takes my mind off
of how upset I am,

and now I'm pumped
to get started.

- All right, guys.
Let's go inside.

Let's get to set.

- Good luck, guys.
- Thank you.

- This is where
we'll actually be shooting,

so take a step in real quick.

- As soon as we get inside,

everything
is really great-looking.

There are desserts set up
all over the table

and taxidermy
animals everywhere.

It's wild.

- From where we were
to where we are right now...

- Perfect. That's good news.
- Okay?

All right. Here we go.
Let's do it.

Action.

- It's kind of looking
really cool.

- The Ginger General
looks fantastic.

He is fun to watch.

He fits the theme,
he fits the room,

and it's definitely a relief

because the lighting test
was a total failure.

- I like the little
cream filling curlicue thing

coming out the top
of his head.

- I want to see how it emotes
when he's doing his dialogue.

- Balderdash.

Clockwise is the only way
to truly stir one's tea.

- It looks pretty good,
actually.

- [laughs]

- And camera cuts.

- [indistinct]

- Okay.
Let's get Lollipop going.

How far away are we on her?

Will she be ready
in three minutes?

- Yes.

- The ballerina's
coming together,

but there's a shot where

the lollipop ballerina
has to do a twirl.

- Oh, ho, ho!
Yes!

- Okay, so we got to fix that.

- Of course, the whole collar
and everything falls apart,

so heat-singe her down
and glue things together

and make sure
that it doesn't fall apart

when she twirls around.

- Mark.

- Action!

- We get it to work.

She performs really well,

and it ends up coming together
and looking really cool.

- Join us for tea?

- I like the stuff that's going
on in the back of her head.

- You've almost taken
the wrapper of the lollipop

and then used it as dressing
to display the lollipop color.

- [laughs]

- Camera cuts!

Fantastic. Let's move on
to the next shot, please.

Hey, Walter?
- Yeah?

- I think you need to add in

some, like, pink or lavenders
into this swirling

so that we can actually see it
on camera.

- It's time
for Alice's close-up,

but she's a giant disaster.

So, really fast,
Yvonne puts lipstick on her,

and Derek and I touch up
the paint,

so it's definitely better
than it was.

- Action!

- Please,
I'm only trying to get home.

- Her eyes are
just way too heavy.

- Uh-huh.

But the rework of the paint job

makes it look
like frosting now.

- That's good.
Cut!

Let's go to the master
and call it a day.

Action!

- Please, I'm only trying
to get home.

- Oh!
- When John mentioned

Walter had to start
completely over,

I did not think
he was gonna be able

to come up
with the likes of this.

- That's impressive in itself.

- Camera cuts!
Let's go!

Good day.
Good day, guys.

Congratulations!

Great work, everybody!

- I'm extremely proud
of my team.

We rallied.
we worked well together.

Thank you very much.

I think I did some
of my best work this season,

and I don't have any
that I'm not proud of.

[cymbal shimmering]

[dramatic music]

- Welcome, everyone.

As you know, tonight,

one of you will be crowned
our newest "Face Off" champion.

All right, well,
before we get started,

why don't we say hello
to our incredible judges?

Owner of Alchemy Studios,
Mr. Glenn Hetrick.

- Good evening.
- Hey, Glenn.

- Oscar and Emmy Award-winning
makeup artist,

Ms. Ve Neill.

- Evening, guys.
- Hi, Ve.

- Creature and concept designer,
Mr. Neville Page.

- Hello, gentlemen.
- Neville.

- And, of course,
we are thrilled

to be joined again
by a legendary makeup artist

with seven Academy Awards
to his name.

The one, the only,
Mr. Rick Baker.

[applause]

Well, it's fantastic
to have you back with us.

- It's great to be back.

- And hello, judges.
How are you all doing?

- We're good. Thank you.
- Fantastic.

- So, John,
how did things go for you?

How do you think these guys did?

- I am extremely proud

of these three contestants
and their teams.

I threw a lot at them.

I'm really happy
with what they did.

- Excellent.

All right, well, one of you guys

will win
our grand prize package,

which includes
a brand-new Fiat 500,

a VIP trip to one of Kryolan's
85 international locations,

and $100,000.

[cheers and applause]

- That's a lot of money.

- All right, so, obviously,
there's a lot at stake here,

so let's get to it.

For your final
Spotlight Challenge,

we asked you to dive deep
into the world of Wonderland

and create three
wildly whimsical characters

that would be featured
in a short film

directed by John Wynn.

So, let's see
how it all turned out.

- This is it.

My heart's going
a million miles an hour.

I'm really excited to see
these characters on film.

- I'm hoping
that all the changes

that we were able to make

helped push our characters
over the top.

I know everyone else has done
a really awesome job.

Just hoping
that ours will be better.

.

- I definitely worked very hard
on these characters.

It's a pretty big risk,
starting over.

Hopefully
that paid off for me.

I'm excited to see what happens.

- So, let's see
how it all turned out.

[clock ticking]

- Great shot.
- Oh, it wasn't that bad.

- [indistinct]

[whimsical music]

- [indistinct]

- So strange.

- Look out!

- Where am I?

- Oh, never mind that.
You must join.

- Absolutely not.

How dare you intrude,
little girl?

And you.
- What?

- You shouldn't be talking
to strangers.

Especially silly little girls.

- Aw. Well, the Queen lets me
play with my friends.

Even silly little girls.

- Do you know
what's happened to me?

- The Queen
most certainly would not.

- Would too.
- Would not.

- Would too.
- Would not.

- Would too.
- Would not.

- Would too.
- Would not.

- Would too.
- Oh, dear.

- Would not.
- Would too.

- Would not.
- Would too.

- Would never.

- Would too.
- Would not.

both: Would too!
Huh?

- Wait,
you haven't even played yet!

- Oh, stupendous lollipops!

Extremely wonderful!

You!
Fancy frosting!

Fall in!

- Join us for tea?

You should always add
the sugar to your tea

before you add the milk.

- Don't listen to her,
little Miss; you should--

- You should make sure to stir
it all in counter-clockwise.

- Balderdash.

Clockwise is the only way
to truly stir one's tea.

- Please,
I'm only trying to get home.

- Oh.

[ominous music]

Well, then,
you must follow the rules.

? ?

Or take the door to the left.
[laughs]

- Oh, you shouldn't confuse her
with wrong directions, General.

The door to the right
is the only way out.

- Lollipop,
I think you're high on sugar.

Oh, I say!

There are proper ways
to do things!

- This is why
I don't serve frosting!

[voices fade out]

- Excuse me.

Excuse me.

- Why, Your Majesty.
It's been ages.

- I've had the strangest day,

and I'm trying
to find my way home.

- Come. Come.
- Could you tell me how to--

- Ascend to your throne.
- You silly prince!

That's not the Red Queen.
That's an impostor!

If you insist
on keeping up this charade,

you will be punished severely!

- Watch your tongue. It shall
not be her punishment coming,

but yours!

Come, come, Your Majesty.

Prove to this jester
your magnificence.

- Oh.
Okay.

Yes.
Um...

Oh, yes.
[clears throat]

Oh, dear.
[sighs]

Hear, ye, hear, ye?

- [laughs]

- How dare you try to take
the throne with your lies?

Guards!
Guards!

Guards!

[in slow motion]
Guards!

[screams indistinctly]

- It was just a dream.

[ball thuds]

[applause]

- Wow.
Amazing.

- That was phenomenal.

Great job to everyone.

All right, well,
let's get down to business.

The judges would like to speak
with each of you

before they choose a winner.

Walter, you're up first.

- Hello, Walter.
- Hello, Glenn.

- Tell us about your approach
to these characters.

- Uh, well,

we had to start over
after the screen test,

and we just did
completely new makeups.

I wanted to kind of mix it up

and not just do
a gingerbread man,

so I thought of making him,
like, a cookie man.

On Alice, I decided
to make it look like icing.

- How did that affect
you mentally,

having to start over?

- It was a real bummer
watching people pre-paint

while we're molding.

- What you guys did

in half the time
of everyone else

is truly impressive.

- Thank you.

- I really thought that

your Ginger General concept
was visually compelling,

and I think
it fit into this world

very, very well.

However,
the choices on Alice's face

were very confusing to me.

- I loved
the Lollipop Ballerina.

The back of her head

was probably the best part
of the makeup.

All that beautiful
lollipop layering

you did back there.

- Thank you.

- The ballerina character,

with the additional makeup
that you did--

she had a very regal quality.

I applaud the fact that you were
able to change gears like that

and survive the day.

- Walter, if you please,
sit back down.

- Thank you guys,
and thank you guys.

[applause]

- Matt, you're up.

- Hello, Matt.
- Hi.

- Would you please tell us about
your Wonderland characters?

- John informed us that it was
more of a toylike atmosphere.

Each one
of the different characters

was very high-textured,

so we wanted to have that
toylike, almost animated feel.

- I think you had three
really beautifully done,

well executed characters.

Your Alice character
was really clever.

Her hair was
really well executed.

Beautifully done.

It's so difficult
to create that wood texturing,

and you did an amazing job
on her.

- Thank you.

- The Tin Jester, though--

that was a highlight.

All the things
that you guys did.

Great shape.
Great form.

Great execution.

You guys nailed it,
so congratulations.

- I thought
they were all very successful.

On the Porcelain Prince,

I think the effect
of it looking like porcelain

worked very well.

I congratulate all of you.

- Thank you.

- Matt, if you please,
sit back down.

[applause]

- Jordan.
Please step up.

- Whoo, whoo!

- Hey, Jordan.

Tell us
about your Wonderland wonders.

- The two
that we started off with

were both animals,

so we wanted
to incorporate their wardrobe

as if it was a part
of the animal's anatomy,

so, for instance,

for the White Rabbit
Alice character,

we wanted the ears to flow
with her natural hair.

- The intentions
were all successful.

So let's start off
with the Alice character.

Her silhouette was so gorgeous.

You really captured
a beautiful balance

between your actress
and this bunny,

and your dapper grasshopper--

it was, head to toe,
so well executed.

You guys clearly, as a team,
work so well together.

- I had an awesome team
behind me on this one.

- Yeah.
- Mm-hmm.

- I thought
the fox was a lot of fun.

It's really hard to do
that long kind of snout

and have it work,

and I thought
it worked beautifully.

- Thank you.

- The paint and design
on the grasshopper,

stylistically,
represents you so accurately.

So successful.
- Thank you.

- Jordan, you can have a seat.

- Thank you, guys.

[cheers and applause]

All right, guys.

It's time
for the judges to deliberate

and choose
this season's champion.

? ?

All right, judges.
Let's get to it.

Why don't we start with Walter?

- Walter did end up delivering

three very strong characters

and really did something
we've not seen from him,

and I found that to be the most
exciting part of his efforts.

You know, a typical gingerbread
man would be boring,

and we would've said,

"He took it too literally
and made a gingerbread man."

- The Alice eye makeup
was way too heavy,

but it actually worked pretty
good on the Lollipop Ballerina.

- He definitely belongs here
in the finale.

- All right, judges.
Let's move on to Matt.

- All three of those characters
were absolutely superb.

They all look
like they belong together.

- They're very finished
and hit the bill perfectly.

- Yeah.
- It was by far the best Alice.

- The showcase item
was the tin character.

It was so good
in absolutely every single way.

- He did a wonderful job.

- And finally, Jordan.

- Of all the challenges,

this is perfectly matched
to Jordan's skill set.

His characters I think conveyed
the whimsy best.

- The grasshopper
was outstanding.

There's a good balance
between how wonderful the sculpt

and the fabrication is

and how well the paint
supports those forms.

The fox
is beautifully engineered,

but there are some serious
problems with Alice.

That seam
in the middle of the face.

- Well, I thought
she was very cute

when you saw the profile,

and the farther shot
where you couldn't see the edge

or the hair,
that worked.

- Both Walter and Matt
have been consistent,

but Jordan has shown us
the ability to take

every single note
that we've given him

and grow from it,

making this
an extra hard decision.

- All right, judges.

Have you chosen
this season's champion?

- Think so.
- Think we have.

- Let's bring 'em back out.

All right. So who is the winner
of "Face Off: Battle Royale"?

- The winner
of "Face Off: Battle Royale"

is...

[dramatic music]

? ?

.

- The winner
of "Face Off: Battle Royale"

is...

[dramatic music]

Matt.

[cheers and applause]

- Congratulations!

- [indistinct]

- The winner of "Face Off"

is Matt Valentine!

Freaking awesome.
So cool.

It's, like, hard
to take this all in.

My whole goal was to make it
to the finale and win it,

and I accomplished that.

- Come on up, guys.

- Well done, man.

- [indistinct]

- Great work, you guys.

- After this entire process,

I'm really taking a lot away
from this competition.

I've learned so much throughout
each and every challenge,

and I've really improved
my skill set

throughout this entire thing.

It's really given me the energy
and the ambition that I need

to really move forward

and put out the best work
that I possibly can.

- Congratulations.
- Thank you very much.

- I'm extremely thankful
to have been an all-star,

to make it to the finale again.

I met some
of the coolest people ever,

and we created
some of the coolest stuff

I've ever seen on the show.

That is something
that you can't take from me,

even though I didn't win.

- Congratulations.

You are the winner
of "Face Off,"

and here is the key
to your new car.

- Thank you so much.

[cheers and applause]

This experience
has greatly changed my life.

This is sweet.

This opportunity helped me
grow and learn

and really believe in myself
and my talents and gifts.

- A huge thank you
to everyone watching.

Have a good night.

[cheers and applause]

- Previously on
"Face Off: Battle Royale"...

Half of you will be
going home this week.

Jordan, Matt, and Walter
earned a spot in the finale,

but only one will hold the
title of "Face Off" Champion.

- We've still got one
challenge left,

and I want to take
this entire competition.

- You will be creating
characters

who will star in a short film.
- Wow.

I want to win.
It could change my life,

and I really want this.

- It's game time. I want this
as bad as I want to breathe.

- Are you ready, master?
- Yes.

- Now pushing down.
Oh!

- Did it break?
- Yep.

- It's just a total
[bleep] show.

- Don't muddy it up.

- I'm just getting less
and less happy with it.

- Right now, I would never
go near that.

- All I see is the flaws.

- This is
"Face Off: Battle Royale."

[cheers and applause]

[exciting music]

? ?

? ?

- It's the morning
of our Finale Challenge,

and I know it's really
gonna be a tough finale,

especially
going against Walter and Matt,

but the adrenaline's
flowing through me right now.

I'm pretty amped,

and I'm ready to get started
with this.

- Good morning, gentlemen.
- Good morning.

- Congratulations again
on making it to the finale.

- Thank you.
- Thank you.

- Let's talk about
your final challenge.

In many cultures,
mirrors are seen as portals

to other worlds and dimensions,

and in this
Spotlight Challenge,

you'll be stepping
through a mirror

and traveling to the most
magical land of all.

? ?

[mysterious music]

? ?

- Yeah.

- That's right.
This season's finale will be

taking a deep dive
into Wonderland.

- Nice.

- I'm ecstatic because
this is my world.

That's what I do is whimsical,
twisted, quirky characters,

so I'm very pleased
with this outcome.

- In Lewis Carroll's book

"Through the Looking Glass
and What Alice Found There,"

Alice uses a mirror to travel
to a magical land

full of wacky
and over-the-top characters.

So in this season's finale,

you will each be
creating two

wildly whimsical characters
who will star

in a Wonderland-themed
short film.

- Nice. That's awesome.
- Wow.

- Now, before we go any further,
you're gonna need some help.

Guys, come on out.

- Ooh, hey.
- We're back.

- [laughs]
- Look at these guys.

[exciting music]

- You will each get to choose
two of your former competitors

to join your team.
- Need some help?

- Matt, you're up first.
- Uh, Damien.

? ?

- Walter, you're next.
- Derek.

- All right.
- Kevon.

? ?

- Graham.
- Let's go.

- Come on, Yvonne.

- Come to me,
and give me a hug.

? ?

- All right, it's time to find
out more about the short film.

And who better to tell you
than your director?

He's an incredibly
accomplished director

who has recently completed
high-profile projects

for comic book legend Stan Lee

and "Walking Dead" creator
Robert Kirkman.

You might also remember him
as the director of Melissa's

"Hell Hole" short film
in season ten's finale.

Please give a warm welcome
to John Wynn.

? ?

How are you?
Great to see you again.

- Thanks for having me back.
- Thank you for coming back.

- Excited to see you guys.

I've been following you
all season.

Amazing work, and I'm excited
to work with you now.

- I met John Wynn
on season ten.

He seems like he knows a lot,

and he's worked
with a lot of great people,

and so I'm really pumped
to get started.

- All right, guys, so something
that you may not know

is that since Lewis Carroll's
Alice books were published,

lost chapters
have been discovered,

so we've created
some lost chapters of our own

for this season's finale
with all-new characters.

- That's right.
Our film's gonna feature Alice,

so she's on the other side

of the mirror,
lost in Wonderland,

trying to find
her way back home,

and along the way
she's gonna meet characters

that you guys create
that are gonna be colorful,

over-the-top.
It's gonna be fantastic.

- Now, on that note,
it's time for each of you

to select your lost chapter.

They are "Tea Time,"
"Questionable Queen,"

and "Garden Games."

Walter, you're up first.

- Oh.

? ?

- "Tea Time."
- Jordan, you're next.

- Go with "Garden Games."
- And of course, Matt.

? ?

- "Questionable Queen."

? ?

- All right, guys,
we want you

to be armed for success
in this finale,

so three days from now
you'll do a makeup test

to see how your characters
read on camera.

Why don't you head to the lab,
read your scripts,

and start working
on some ideas

for your characters?

John will swing by soon,
talk you through everything,

and show you some storyboards,
all right?

- See you guys soon, okay?
- Bye. Good luck.

- Thank you.

? ?

- I go here.
- Have a seat.

- Let's do this one.

? ?

"Alice finds herself
in the throne room.

She approaches a Porcelain
Prince and a Tin Jester."

My scene is
"Questionable Queen,"

and my characters
are the Tin Jester

and the Porcelain Prince.

- Porcelain Prince,
wiry and overly worrisome.

- It would be cool if his crown
integrated into his head.

- You can also have porcelain

cracking into a shape
of a crown.

- That's gonna be sweet, dude.

For the Tin Jester,
I'm a little worried

because the jesters
have been done so many times.

It's extremely difficult
to reinvent that.

It's gonna be hard

because the jester's
a very colorful character.

But when you bring tin
into it,

you're kind of monochromatic.

- Congratulations.
- Thank you.

- How's it going?
- Awesome.

- Let me tell you a little bit
about what's going on.

Alice will have gone
through the mirror.

She's going through
all these different rooms.

Each room has a theme.
You guys have the throne room.

It's a very toy-oriented
type setting.

The lighting in your room
is a little darker.

I want your characters
to pop off camera versus

getting lost in the shadows.

- Yeah.
- Well, we read

that there was
a Porcelain Prince,

and we wanted to bring
the porcelain

into the anatomy
and the skin color.

- I love that.
Maybe tell me a little bit

what you guys are thinking
about the jester.

- We like integrating
the metal into the anatomy,

and even playing with rust
and different colors,

almost like a patchwork of--

- I love that 'cause they've
been waiting for their queen,

so there's some
sort of distress.

You're moving in
the right direction.

All right. Good luck.
both: Thanks.

- "Alice steps out
of the mirror

"pushing the blanket aside

"into a beautiful,
colorful garden.

"She sees
the Dapper Grasshopper,

"tall, thin, and very proper,

and the Spring Fox boyish,
overprotective, and soft."

I definitely feel like
I picked the right script

because I love making wacky,
whimsical types of characters.

The grasshopper's
gonna be all exoskeleton.

Human and insect anatomy
is very different,

so we've got to find a way
to integrate both.

With giant eyes like that,
we've got to find places

to hide the actor's eyes.

The fox character
is the complete

polar opposite
of the grasshopper.

Just fun, bouncy,
full of energy,

so we want to really highlight
that contrast.

- Howdy, howdy, howdy.
- How's it going, man?

- How's it going, guys?

So your sequence
in the garden,

Alice is gonna come
through the portal.

Tell me a little bit

what you guys are thinking
in terms of color.

- He'll be green
for the most part...

- Okay.

- And then the fox,
he's all orange.

- One thing
to be cautious of is,

you are surrounded
by a lot of foliage.

I don't want you to lose the
grasshopper in the background.

- Yeah.
- Make sure that you're having

some sort of texture
or pattern

that helps him pop out.
- Right. Right.

Do you think they should be
on a more realistic scale

or a more cartoony scale?

- We are in Wonderland.
- Fantasy world.

- We are in a fantasy world.

Take reality
and then twist it on its ear.

- Got you.

- That's what we're looking for,
that unique spin.

- Excellent.
- Okay? Rock on.

- Thank you.
- "Tea Time."

"Alice emerges
from the foliage of the gate

"into a long indoor hallway.

"The table is stacked
with colorful desserts.

"The Lollipop Ballerina,
beautiful, clueless,

"and ditzy,
is pouring tea for the old

and flustered Ginger General."

The Ginger General
and the Lollipop Ballerina

are happy, fun,
lovable characters

that Derek and I
typically don't do.

Mm-hmm. Try and think of what
we can do for the Lollipop.

I'm really trying to lean
on Yvonne for concept.

Everything she's ever done
is pretty whimsical.

- The lollipops can make up
her headdress,

like her hair.
- Mm-hmm.

For the Ginger General,

I'm thinking anything
not gingerbread man

because we've already had two
gingerbread men this season,

and I really want
an original concept.

Then I realize
I can do an animal hybrid.

I like doing that.

That'd be kind of cool
if we made, like,

an old rabbit
who's super aged.

I just really am hoping

that John gives me something
that I can draw from.

- Hey, guys.
- Hey, how you doing?

- Hey.
- Good to see you.

Why don't we jump right in?

In the story,
this room symbolizes indulgence,

and these characters
are adults

that existed
in Alice's real life

who encourage her to grow up,

so I think I see you started
to sketch, like,

a little bit of, like, animals
and that kind of stuff.

- Yeah.
- I would definitely try

to stay away from animals.

Think about more of the food.

Like, "Ginger General,"
he's the overindulgent one.

He's just been eating
and eating and eating,

so now he's
an extension of food.

- Okay. He just came up
with a cool idea

to make a fat suit with,

like, big, fat arm gloves.
- I love that idea.

As long as you stay away
from this animal stuff

and go more towards--
- Yeah, yeah.

Now that we know that that's not
what you're looking for,

we'll gear towards
the other direction.

- Awesome.

- And then
for the Lollipop Ballerina,

can we mimic a lollipop
where it's--

- You could. I would love
the swirling pattern.

- You know, the rainbow-y--
- Yeah.

- Absolutely, man.
- Good stuff, man.

I'll see you guys
at the lighting test, okay?

- Absolutely.
- See you around.

- Get to work.
- Okay.

? ?

- With the grasshopper there's

a lot of parts
we need to get done.

I've got Kevon making
the entire lower half

of this grasshopper's body

while Mel's working
on the face for the fox.

Kevon, do you think this has
a grasshopper feel to it?

These are going
under the cowl,

but it's gonna be like--
- Are those

where the eyes will be?
- Yeah.

The actor's eyes are actually
gonna show through two

tiny little holes
in the mouth of the giant bug,

and then the actual bug eyes
are gonna be

much larger on the cowl piece.

Head will probably be up
to here.

- Cool.
- And then the antennas

would go up even further.

It's gonna be a little bit
difficult with sculpting

all these exoskeleton parts.

It all has to be
very symmetrical, smooth,

and everything
has to match up really well,

so it has to be done right,

or it's just not gonna
work out at all.

? ?

- Cool.

- I'm gonna go
right one first,

and then you just
dump it in around me.

- Got you.
- The Ginger General's hands

are like cream-filled cookies,

so Derek and I cast my hands

out of alginate
to make foam latex gloves,

but it'll look
like whoopee pies.

Go ahead.

While we're doing that,

I have Yvonne working
on the cowl

for the Lollipop Ballerina.

I tell her to think
of lollipops and candies.

- I was trying to think
of something interesting

that was underneath
the popsicle sticks.

- I do like the intertwining
idea of licorice.

It looks a little creaturey,

but also very cool
and stylized

and along my own style.

I think that will be fun.

? ?

- I'm sculpting
the Tin Jester's face,

and I wanted to keep it
very sharp with some filigree,

and I want to integrate
a drill-like nose

to bring out
the playful toy aspect.

Damien's sculpting
the Porcelain Prince face.

I want it very gaunt,
high cheekbones,

and inquisitive
or sorrowful brow.

I think that'll translate well
into, like, a statuesque look.

I feel really confident
about our design,

so I want to spend as much time
as possible on the faces

'cause this is the finale,
so I don't want to just rush it

and throw something
in the mold room.

? ?

- Most of the day is gone,
and I've spent

a lot of my time sculpting
on my cowl

for the grasshopper character,

but I'm just getting less
and less happy with it.

Both the eyes
are too far forward,

and they kind of feel like
Baja lights on a dune buggy,

and that sucks because

I really don't have
a whole lot of time

to change around an entire cowl.

- Jordan?
- Hm?

- I feel like this is looking
kind of lizard-y.

- On top of that, Mel tells me

she's not really feeling
the face for the fox.

- This does not look
like a fox.

- This is nerve-racking.

This is the finale, and these
are my two main pieces,

so I have no idea how this
is gonna play out for me.

? ?

- The winner of "Face Off:
Battle Royale" will receive

a VIP trip from
Kryolan Professional Make-up

to one of their
85 international locations,

an all-new Fiat 500,
and $100,000.

.

[dramatic music]

- Jordan?
- Hm?

- I feel like this is looking
kind of lizard-y.

- Mel's starting over the face
for the fox

because she's concerned that it
doesn't look enough like a fox,

which I completely agree with,

and I'm not feeling
the grasshopper cowl.

It's not a good feeling,
but with this being the finale,

we want these characters
to be as good as possible,

so her starting over,
it's a good thing.

So we both start pushing
the clay around a little bit

just to give it
that more snouted feel.

- Do you want me
to mess around with these ideas

for a bit and you come back?

- I'm gonna let her play around
with it a little while

just because I need to go back
to the grasshopper cowl

and make sure
that that gets refined.

[exciting music]

? ?

- Hi, everybody.

[overlapping greetings]

- We've got
the Lollipop Ballerina

and then the Ginger General.

- Is he himself
a piece of cake?

- I'm thinking kind of like
the color of carrot cake,

frosting on the top
of the hair.

- Now when you're talking
about carrot cake, that's dark.

- Like a very light orange base
with darker orange spattering.

- The spattering's
probably good

because you don't want
to get it too dark

because you've got
so much going on here.

Let's see Lollipop.
- Yeah.

Just really playing
with her anatomy,

but making her anatomy

into just different assortments
of candies.

- I'm trying to think of,
like, a candy that, like,

grew out of her cheekbones.

- You've got so much going
on here

that if you start really
busying up the face here,

you're gonna lose the concept.
- Yeah.

- We have the Porcelain Prince
and then the Tin Jester.

- What's your concept?
- We like the idea

of keeping it very smooth,
very pale,

and a few cracks
that will show the porcelain.

We didn't want
to make him too human,

so we wanted to flow
that bridge up

into the brow
and then into the crown.

- You could make a small piece

that would literally
overlap right on to your crown.

- Oh, yeah.

- Now, let's see your--
your metal character.

Now, what color are we gonna
get into here?

- We were thinking about more
of a--like a steel metallic,

but then also bring some rust,
maybe some copper.

- So you know what setting
this is going to go into

with your lighting and
everything?

- Dark.
- Yeah, it's pretty dark.

- Dark?
Well, you definitely then need

little things to make it pop.

- Mm-hmm.

- We got the Dapper Grasshopper

and the Spring Fox.

They contrast with each other

as far as, like, personality
and even paint scheme.

- Let's start here
with the fox.

I'm just concerned
with the nose--

that it ought to be
just a tad bigger.

It's almost falling
into the realm of it could be

a bunny rabbit
when you go like that.

Now let's see the grasshopper.
What do you have?

- Started on the face,
and then I wanted to find out

how I was gonna meet the face
with the cowl,

so then I started
blocking out the cowl.

- Since this is
a fantasy character,

don't muddy it up
with a lot of dark green.

You want to keep
the colors crisp.

Well, let's go down
and see Kevon's piece.

Kevon, explain to me
what you're doing.

- Well, we wanted to have
these hind legs

like grasshoppers have.
- Mm-hmm.

- And I think
the most practical way

is just going to be
to build a leg piece.

- Right.
Is it possible to sculpt that

so you can get both of them
out of the same mold?

- Save us from having to sculpt
and mold another piece.

- I think you should,
and again,

it'll be a big time saver.
- Oh, yeah.

- Bye, everybody.
- See you.

- See you.
- Good luck.

- Thank you.
- Thank you.

? ?

- After Mr. Westmore leaves,
Mel continues working

on the fox face
'cause he thinks it

doesn't read "fox" enough.
- Say what you're thinking.

You're not gonna hurt
my feelings.

Jordan has very specific style
in the way that he does things,

so I want to make sure that
this looks like something

that could exist in his world.

- Yeah, I like him now that
he's, like, softened back down.

We throw some ears on it
just to see the overall look.

I mean, [bleep], those ears

could even be sculpted in
with the face.

We all feel like at this point
we really might not need a cowl.

- I really wanted
to have this molded today,

but I think it's more important

for it to be good.
- Oh, yeah.

? ?

- I want to give
the Lollipop Ballerina

some ice cream cones
to go on her head.

It's kind of
Statue of Liberty-esque,

and it just adds another
element, a third dimension.

- They're gonna
look like horns.

- They're gonna look
like horns.

- And we want that?
- I kind of want that.

- Yeah? I just don't know
if that makes sense with that.

- That's what I like.
I like creatures.

I like horns, and I don't want
to get too far

from what I actually like.

- You could always have, like,
a fan of--

or, like, three.

- I do believe
it's taking a risk,

but also I'm keeping it cute

and fun at the same time,
so it seems whimsical to me.

I think this is still
a good idea.

? ?

- Voila.

- While Graham works
on the Tin Jester...

- [laughs]

- Damien's sculpting the cracks
on the Porcelain Prince.

- Do that kind of thing there.
- They look amazing.

They look just like real cracks.

Oh, that's sweet.

It's all these little nuances

that are really fleshing out
the characters.

- This is where you guys
want to, like, take some time

'cause this is
what our main character is.

It's not a giant ass.

It's not a huge stomach.
It's like--

- Yeah.
- The characters.

- One hour, guys.

? ?

- That's time, guys.

- Yeah.
- Sha-pow. Sha-pow.

? ?

? ?

- Are you ready, master?
- Yeah!

? ?

- Today we've got a lot to do.

We've got to get all of our
sculpts finished and molded.

Plus we're gonna need to run
the grasshopper body

in poly foam and latex.

- You're not doing a neck

'cause you're doing it
on the cowl, right?

- Right.
- Okay.

- I'm still not really feeling
the cowl for the grasshopper,

so I need to spend
some time today

focusing on the head.

So I go in there,
and I chop the eyes off,

move them back further
on the head,

and start to reshape the head
altogether.

He's much more grasshopper now.

[chuckles]
- Cool.

? ?

- The cowl for the
Porcelain Prince is a crown

that's growing out of his head,

and it has some sharp
castle-like points

that we want to bring down
to the shoulders.

I think as long
as it's got that.

- Yeah.
- The more curves the better.

Me and Damien are working
very cohesively.

We're working until we
get tired, and we switch it up

so we can bring new designs
to each sculpt.

? ?

- I'm happy with all
of my pieces so far,

but time is definitely
starting to slip away,

and I'm getting more
and more worried.

We're the three slowest molders
of all the other artists.

I know it's gonna be
time consuming

to mold these giant things.

We should probably
mold it like it is.

Right now we're behind,
so we need to start molding

all of the pieces
as soon as we can.

- Actually, while you do that,
I'm gonna start setting up.

I'll be right back, okay?
- Okay.

? ?

- Kevon and Mel are working

on getting the body
for the grasshopper poly foam,

so I run over there
to help them out.

They've already put
a few layers of latex in,

and it's built up enough

to where we can pop
the mannequin onto it

and get it strapped down.

Since the piece is
as large as it is,

it's important to make sure
the mold

is completely filled
with poly foam.

So once we get
that top half on there,

we see foam start coming out,

and it's an instant sigh
of relief.

- Yay!

- So we just need to wait
and let it sit for tomorrow

so we can demold it and get it
ready for application.

- Ugh.
Good job.

? ?

- We are so far behind,

and I realize there's no way
I can get a fat suit done,

and I need to just focus
on the arms

and the cowl
for the Lollipop Ballerina.

Where's this at?

- Cracked.
- The thumb broke off?

- The pinky.
- The pinky broke off.

- Right here.
- [bleep].

Yvonne gets the hand mold open,

but one of the fingers
breaks off,

so we scrap the arms,

and I decide to just wait
until the actual film shoot.

One thing after another.

So I move on to
the Lollipop Ballerina cowl.

We have to get this one out.

? ?

We have to get this thing open

and see what we can do with it.

- There it goes.
- You got that side?

- The first half
comes off really easily,

but the second half appears
to be locked.

- Yo, I think I got
a good grip here.

- Okay.
- The three of us

are just cranking on it,
trying to get it open...

Now pushing down.
Oh!

And the whole mold
cracks in half and falls apart.

- Did it break?
- Yep.

- Ohh.

- This is absolutely
a total disaster.

There's no way this is gonna
come out.

And it's pretty upsetting

'cause if I don't
get this piece,

I won't have anything
to show John,

and I need his input,
so this really sucks.

.

[exciting music]

- How bad was it? [bleep].
- It's a mess.

- The whole mold cracks in half
and falls apart.

[bleep].

I'm extremely frustrated
at this point.

- Can we patch it?
- No.

I mean, we can try
and glue it or something.

I don't really know.

We just try and glue
the pieces back together,

and thankfully it's holding.

We got to try
and make it usable,

even if it's a big piece
of [bleep].

- That's time, everybody!

- Damn it.

- Leaving the lab, my
confidence is definitely shot.

This is the first time ever

that I have experienced
such failure.

Reached my capacity
for failure today.

It's just such
a mental breakdown,

and I'm just really relying
on the fact

that this is a lighting test
and not the real thing.

? ?

- Go, go, go.
I'm so nervous now.

? ?

Look how cute he is.

His ears came out
and everything.

- Nice. Today I want to do
a lot of pre-painting,

so right when we get
into the lab,

Kevon heads
into the mold room and starts

demolding the body
for the grasshopper.

Mel's gathering things
for the fox character.

I'm cleaning up the seam line
on the grasshopper cowl,

and the last thing
we need to do

is just clean out
the collar piece

for the grasshopper,
run poly foam in it,

and then we can have our final
piece ready for application.

? ?

- Hi.
- What's up, guys?

Nice to meet you.
- Brian.

- You're gonna be
the Tin Jester.

- Oh, my God, I love the nose.

- There's a lot of patching
to do

'cause our mold
broke in half yesterday.

- Before my team could
even start applying,

there are a couple of pieces
that we need to fix.

The Lollipop Ballerina cowl
is a total disaster.

There's chunks missing.

We've got two big seams.

It's just gonna take
a whole lot of time to fix.

At the same time, me and Derek

still have to run this
whole fat suit in poly foam.

It's a lot of work

that you shouldn't be doing
on application day.

? ?

- How's that feel?
- That's fine.

- [laughs]

- There we go.
- Yeah, that's it.

- Perfect. All right.
- In the mad rush of trying

to get ready
for the camera test,

Damien and Matt
are starting to apply,

and I start working
on this turnkey idea.

I find this gear that has
a nice little port to it

which is wide enough
and deep enough

that you can fit the key in,
and you can turn it,

and it won't fall out,
and boom.

It's working out perfect.
It's like it was meant to be.

Check it out.
- [chuckles] Awesome.

Application is going great.

It's just we had a lot
of patching and seaming,

and we really should be
painting at this point,

so we're a little behind.

I really want to win
this finale,

so it's just gonna
come down to

how well we work together

and time management.

? ?

- There's a lot of work
that we have to pass around

between each other to make sure
that these characters get done.

Mel is applying the
face prosthetic for our fox,

and I'm pre-painting
everything,

and then Kevon's fitting

all the pieces
for the grasshopper,

but the grasshopper body,
it's a little bit tight,

so Kevon needs to dig out
poly foam from the inside

so that it slips
on him nicely.

After that, he's gonna cut
the sides of it

and zip tie it together.

- I'll just use blender pieces
to hide all this.

- We're on task so far,

so it's not as bad as what I
thought it was gonna be today.

? ?

- Graham and I start pressing

the black all over
the whole cowl

and face of the Tin Jester

because anything metallic
needs a black base first

to really shine and pop.

- Yeah, this will build up nice.
- We got it all blacked out,

and then we're applying
Kryolan aqua silver colors,

and we're just doing
a darker silver,

and then we do one
with another lighter silver

on top of that to hit
all the high points

of the facial structure.

It's very important to get
these paint jobs spot on.

? ?

- Everything is so frantic
at the lab.

There's half the time left,

but nothing has been
applied yet.

The Lollipop Ballerina cowl
looks so messy and dirty.

I'm second guessing
whether or not

the Ginger General's
too scary,

but things just have
to be applied,

or we have no makeup.

? ?

- Mel, what do you think
about that kind of eye?

- [bleep].
Think that looks really cool,

and it's literal
third dimension.

- I've had an idea for a while
to use this mesh

to go over top of bug eyes

just to really give it
that life-like feel.

- If you feel stressed
about time, do it next time.

- No, I think
we can do it now.

- [bleep] do it.
- These are gonna be

a real focal point
to this character,

so I've got to do the best job
that I can on them.

I've never done this before,

so it's kind of scary to be
experimenting around with this

on such an important challenge,

but this is the lighting test.

This is our time
to experiment around,

so I'm gonna give it a try.

Check that out, Kevon.

- That's aw--dude, yes,
that is really good.

- I couldn't be happier
with how it looks.

This is the exact eye
that I've been wanting to do,

and it came out great.

- It's amazing, Jordan.
- That is cool.

? ?

- We'll save all the filigree,
I guess, for--

- Yeah, for Last Looks.
- For Last Looks.

- I'm a little worried
because we don't have

much paint detail going on.

It's pretty much a base
and a little bit of contouring,

but both makeups are nowhere
near the finish that we want.

- Have it curl around
and up like that?

- It's a little scary
to depend on one hour

to really finish out
my makeups.

? ?

- At this point
we're frantically trying

to put these two makeups
together.

Nothing is really planned out,

so we're having to paint
as fast as we can.

I don't know.
Go where your mind takes you.

Just lots of bright colors.

It's just
a total [bleep] show.

- How much time we have?
We should start packing.

- Yeah, we need to.
Let's go for it.

Start packing it.

Time is starting to slip away,

and I'm getting more
and more worried.

What else do we need?

- I got everything in the bins,
all that glue and stuff.

- Yvonne?
- What?

both: Syringes?
- You know where the--

- Where are they?

- I'm really failing...

Grab that latex hand
just to show him.

And it's upsetting.

Grab it, yeah.
Just grab it.

- Okay.

- That's time!

? ?

- I'm second guessing
the Ginger General,

and I'm looking
at the Lollipop Ballerina,

and I hate the cowl.

It definitely sucks.

- I'm gonna cut a hole here...
- Yeah.

- And then put
that little key in there.

- Yeah.

- I can do that after
we get things all painted.

- I am nervous because
this is really important,

and I really want
to impress John,

so it's just gonna take a lot
of focus and a lot of energy

to get this perfect
and pristine.

.

[dramatic music]

- We have one hour left
until our camera test,

and we still got
a lot to do today.

We need to finish up
the painting.

We need to get them
into the wardrobe,

and we need to finish
these intricate details

that accentuate
the total picture.

Graham is working
on the Tin Jester,

and Damien and I work
on the Porcelain Prince.

I really want these details
to read well on camera.

- Just this one right here?
- Yeah.

- I don't have enough time to
do both of their entire faces,

but I'm going through and
spraying these filigree stencils

in areas on both characters.

Just doing things
on one side of the face

is gonna give John the idea
of what we're going for.

You digging that so far?
- Yeah. Yeah, that's cool.

? ?

- One more glue job
around the mouth.

It's really, really important

that everything
is glued down real nice

so that she can perform
and speak,

which is different than
your average "Face Off" makeup.

15 minutes, guys.

- Time is ticking away,

and the wardrobe
is just not happening.

- We should just cut it.

- Damien just decides
to cut the collar off,

and we force it
around his shoulders.

- These split-second decisions
can mean everything.

? ?

- All right, guys, time is up.
You're needed on set.

? ?

- I feel really great
about the makeups,

but we're not done working.

We could have touchups.

There could be an issue
here or there.

I'm just hoping it's enough

to compete with Walter
and Jordan.

? ?

I'm just worried
'cause all I see is the flaws.

All I see
is what could've been

or what needs to be done...

- Come with us to Wonderland!
- Wonderworld!

- And I really want
to impress John,

so I'm just hoping that it's
exactly what he's looking for.

- What up? What up? What up?
- Hey.

- Hey, guys.
- How's it going?

- How you doing?

- It's awesome to see all
the cameras and the lighting,

and it's just
an overwhelming experience.

- Let's get you guys
over near our test area,

and we'll start talking.
- All right, awesome.

- We'll get right to work.
- Cool.

- Let's do it.
- I love being on set.

It's gonna be great to see my
characters interact on film...

- Take a seat, Matt.

- In front of the director.

- Can I get a single
on the jester?

Megan, you're going
to pretend you see Alice,

and then turn to the Prince.

All right, ready?

Action.

[exciting music]

I love it, Megan.

Jump up and down
a little bit for me.

Great. She's coming together
really well.

- Yeah.
- I love the idea of, like,

some sort of chest piece.

- Mm-hmm.
- I wanted to see

more of the metal building

throughout her body.

- He'd love to see us
full-out sculpt the body

and bring it down
to the arms as well,

so that's just something extra
to worry about

because of just time management.

- Now, let's talk about
the jester.

What are we thinking?

- We wanted to keep it
really metallic and tin.

I'm trying to decide where
to put that kind of coppery red

into here.
- Yeah.

I think that would add a lot
of depth to the shot,

texture.
- Mm-hmm.

I noticed that it would be
more impactful

to actually bring up
that coppery red into the cowl,

and John thinks it would be
a great addition,

so these little things
are really popping out to me

that didn't, you know,
get on the monitor.

- We also created, like,
a whole windup key

that fits on to her back.

- So if the scene started

and the jester
was backwards and off,

and he walked over when he saw
Alice and spun the key,

I love that idea.
- There you go. Yeah.

- 'Cause that would change
the opening of my scene,

but it would do it in a way
that feels really fantastic.

- John loves the idea so much

that he's willing to alter
his script for us.

It's really cool.

- Let's roll when you're ready.
Action.

? ?

Yep.
Yep, there you go.

Fantastic.
Shriek for me.

- Aah! Aah!
- Yep. Yep. Okay.

Camera cuts.

So where he's cracked
right now--

- It's overdone.
- You need to fade it in.

It needs to be
a little bit more--

- That looks more
like spider webs.

- See, that's good
because that--

- That looks great.
- Yeah, that's nice.

- That's fantastic.
- It's subtle.

- And it has a shadow.
- Yeah.

- See, the other ones look drawn
on even though they're not.

- The main concern that John
has with the Porcelain Prince

is that the cracks
were too harsh,

that we need to lighten them.

It's just another burden
to finish out.

- All right, guys,
fantastic work.

- Thanks.
- I'm excited.

I mean, let's just take it
to the next level.

- I feel great knowing

that we don't have to resculpt
any of our pieces,

but there's still a lot to do
to make this come together.

? ?

- Bye.

[dramatic music]

- So we get into
the Last Looks,

and we need to throw
the entire head

onto the grasshopper as well
as do a lot of painting.

It's really important for John
to see these characters

as full as possible
so that we understand

the vision
that he's looking for,

so this lighting test is
really make or break for us.

- Where's our sponge bucket?

I feel like I'm losing
my [bleep] mind.

- Kevon and Mel are working
on these fox feet and hands,

but because we have
limited time today,

we're gonna be laying
a lot of patches of fur

onto the fox versus
laying hair on it.

It's just to give a general
idea of how it's gonna look.

- Personally I think it's
a little too dark right here.

- It is. Yeah.
- I think it could just use

a little pop like the head has.

I'm realizing that there
are different colors of green.

They look different enough
that it's almost an accident,

so I begin dry-brushing more
shades of green, more yellows,

to start pulling the color
all back into this.

This right here is killing me.
I mean, it's--

- We'll be able
to adjust on final day.

- That's 15 minutes, you guys.

? ?

- In these last few minutes,
it's such a crazy rush.

We're moving
as fast as possible.

There's brushes
flying everywhere.

We're tripping over things.

We really need to get
these guys done.

? ?

- All right, that's time.

You're needed on set.
- All right.

- We didn't get as much done
as we wanted to,

which I'm a little bit
worried about,

but they both look pretty cool.

I'm really hoping
that John likes these

because if he's not digging
our characters,

we really don't have
a whole lot of time

to change an entire
grasshopper character,

so hopefully I don't have
to make many changes.

I can just keep building
and win.

.

- Hey, Jordan.
- Hi, guys.

How are you?
- How's it going?

- It's really cool
to walk in here

knowing that we're about
to test all of this out

for the film
that we're about to shoot.

- Let's get you guys over here
to our test set,

and then we'll start talking
about some stuff.

Sounds good?
- Cool.

- All right.
- I'm pretty excited.

I see the setup
with all the different greens,

and they've got
these giant mushrooms,

and then I'm looking back

at my grasshopper character
trying to figure out

if he's gonna really stand out
in this environment.

- Here we go, and action.

Brian, tilt your head forward
a little bit.

See, now that he's leading
with his head...

- The grasshopper, yeah.

- You might just angle up
his antennas a little higher.

Yeah, see, so he doesn't
poke him in the face, right?

- This lighting test for the
grasshopper's really important

because we find out exactly how
the lighting plays

with all the different planes
on his body and his face,

so now we know what kind
of adjustments we need to make.

- Give me some context about
where you guys are.

- There's a few things

that we're looking
to possibly change.

We're playing around
with the idea of actually

making an entire lower half

so that he's all grasshopper
from the waist down.

- Uh-huh. Honestly,
if you guys could do the legs,

that would be really cool.
- Yeah.

- That would just take it
in a whole place

that I think--I think

you would just elevate
just the overall look of him.

- John loves that idea.

He thinks it's gonna
really make it

into a more full character,

but that means we have
a lot of work to do.

- Camera, cut real quick.

I just want him--look directly
into lens for two seconds.

See his eyes?

- Mm-hmm.
- Right now you have

contacts in there?
- No.

- We might need to think
about that

because if we are outside,
and this light hits him,

and I catch human eyes
in there,

it's gonna give away
that those aren't nostrils.

- Um, Mel was talking
about putting a mesh in there

that he could see through that--
- That would help.

- And he can paint on top of the
mesh and even the plane field.

- Either put black lenses in.
- Yeah.

So that's something to work on.

- This grasshopper is gonna
take a decent amount of time,

especially with full
grasshopper legs.

- Spend a little time on fox.
Great job. Great job.

- Hopefully for
the fox character

we're not gonna have
to change too much.

- Action.

Christoff, will you look
at grasshopper real quick?

Now look profile.

Okay, see,
look at his nose right now.

He needs to look
more like a fox.

- Yeah.
John thinks the snout needs

to be a little bit
more elongated.

I don't want to make it
too much longer,

so we've really got to play
around with the idea

of "satisfy the director

but not lose
that makeup quality to it."

- What I think you can do is
if you did an alginate

on your rubber face

and you just sculpted
a little extension.

- With an extension.
- Ohh.

- It would fit
right over the top.

- Mr. Westmore's got
a great idea

to essentially make
a prosthetic for the prosthetic

so that we can go in

and not have to completely
resculpt the fox face.

- Our Spring Fox, I like it.

The one thing I would say,
though,

is if it's bright outside,

he might be
a little too bright.

- Yeah.

- Maybe make him
a little more orange.

- The camera washes out
his face a little bit,

so it feels like we need to
make it pop a little bit more.

- I think the fox is,
right now, a little bit too--

- The fox's face is what you
really have to work on.

- Yeah. Yeah.

The grasshoppers almost there,
you know,

outside of maybe you guys
do the legs and stuff.

- Awesome.
- All right?

You guys are killing it.

- Overall I'm really happy with
how the lighting test went.

Everything read pretty well,

and it gives us
a really good idea

on what we need to change
for film day.

? ?

- We've got one hour left,
and we have to get

these makeups finished
despite how unorganized

and frustrated and frantic
we are.

Definitely regretting

how many lollipops
there are on this ballerina

because they need
to be hand-painted,

and I don't have time
to do that,

so I'm airbrushing everything.

I really want everything
to be seamless,

so I'm gluing licorice
into the hair,

and then I go and see
what I can do to help Derek.

Oh, we didn't grab
the damn sprinkles.

It really sucks to miss
the sprinkles

because the sprinkles
are that fun little element

that makes the Ginger General
look like a cookie.

Would've made this guy
look way more comical.

I'm extremely frustrated
at this point.

? ?

- Are we good?

- Yeah, it's good.
- Perfect.

The cowl doesn't even have
a blending edge whatsoever,

so we have to figure out
something to cover this,

so we add a bunch of cellophane
wrappers to disguise it.

I don't know if it looks good,
but it works.

? ?

- All right, guys, time is up.
You're needed on set.

- Whew.

I'm happy that they're done,
and I'm happy with my team,

but I really don't know
what John's gonna think

about either of them.

Come on.

I'm really bummed out.

They're not up to the quality
of work I've been doing,

so I just really want
to hear the advice

that John has to make
these makeups better.

- What's up, Walter?
Come on in, guys.

- Hey.
- All right.

- What's up? What's up?

- We walk through
the giant doors,

and McKenzie, John,

and Mr. Westmore
are waiting for us,

and it's a hot set.

There's people everywhere,

and there is a dinner table
with nothing

but sweets and desserts
all over it,

and we all sit down
to start our lighting test.

- Let's take a look
at this on camera.

And action.

So the thing right off the bat

I'm concerned about
is the General right now,

and he comes off
a little too threatening.

- It's a little eye-opening

to see it through
the lens of the camera

because the Ginger General's
not fitting in.

He looks not so inviting.

He doesn't look anything
but really intimidating.

- In this whimsical environment,
it is Alice in Wonderland.

This should feel
really bright and fun for her.

- He's supposed
to be inviting to Alice.

Right now, I would never
go near that.

- Yeah, right.
- That would terrify me.

- You really have to think
about resculpting his face.

- He's just a big failure,
and it's pretty upsetting,

'cause on my season,
I was the only finalist

who didn't have
to redo anything,

so coming from that to this
kills my confidence totally.

- What is he? I don't know.
- Yeah.

I really want this,
but I feel like the odds

are heavily stacked against me
at this point.

- All right, guys, it's time
to get on Twitter and tell us

who you think had
the best camera test

using #FaceOff.

.

- Right now, what is he?

I don't know, and that's
my biggest question to you.

- So far this challenge
has been one long nightmare.

- I think you really have
to think

about resculpting his face.

- The Ginger General
is way too scary,

and he wasn't feeling
the fat suit,

so now I have to restart
everything.

I'm scared because
I'm competing for $100,000.

- Of course.

You want to win $100,000?
- Yeah.

- Then you better make
the best damn Gingerbread man

I've ever seen.

- I'm upset I failed
so miserably,

but I want to win,

so doing a complete redo
is the only way to go.

- Camera, cut.

Can we pan over to Lollipop,
please?

I think you're closer with her
than you are with him.

- Yeah, I agree.
- Okay, I think right now

she's the "dessert ballerina."
- Mm-hmm.

- Really emphasize lollipops
around her.

- I already know I have
to resculpt the cowl

just because it was
so messed up,

and I'm worried
about having enough time

to make all of these changes.

- This here looks
more like war paint.

- And that paint job

may actually be
making her more threatening.

- She needs to get
her lips done.

She needs a fantasy eye makeup
as opposed

to making her forehead look
like she has a rash.

- At the end of this
consultation, I am pretty upset.

- I think with both
of your characters the answer

is you guys need to create
an identity

that is consistent.
- Yeah.

- Right now,
both your characters are, like,

a mish-mash of things,
and that's just confusing to me.

- It's definitely
a ego-killer...

- Dude, you got this,
all right?

- Yeah, absolutely.
I'll give it my best.

- I know.

- But I'm gonna try and rally.

- See you guys, okay?
- Bye, guys. Good luck.

- All right.
- Thank you, guys.

I really want this.

We have to come up with better
concepts and stronger makeups.

- Next time on "Face Off"...

I do have one more surprise

for you.
- Ouch.

- I can't think of any worse
of a scenario.

- Action!

- My heart's going
a million miles an hour.

- The winner of
"Face Off: Battle Royale" is...

? ?

.

McKenzie: Previously, on
"Face Off: Battle Royale"...

the artists made
underwater creatures.

Jordan's sinister sea monster
terrified the judges,

leaving the bottom look
on the brink of elimination,

and tonight--

Welcome to the semifinals.
- [bleep].

- Oh, my God.

- I need to get
into that finale.

- I'm feeling sheer
panic and horror.

- When I first saw it,
you know what I thought of?

Harry Potter, here I come.

- This is complete hell.

? ?

- This is "Face Off:
Battle Royale."

all: Whoo!

[exciting music]

? ?

[upbeat music]

? ?

[ominous music]

- It is pitch black in here.
- Oh, dude, that's awesome.

- It's like a cave.
- We walk into the lab,

and I'm immediately stoked

because it's been transformed
into a bat cave.

Oh, bats.
I love bats.

- Whoa. A bunch of webs--
- Oh, I walked through it.

Gross!

[laughter]

- It seems like this is gonna be
a really exciting challenge.

- Welcome to the semifinals.

- Oh.
- I'm ready.

- One of the six of you

will be our new champion.

So let's get right into
your next Spotlight Challenge.

For centuries, superstitions
have existed around bats...

- Yeah.

- And their supernatural
connection

to one of the most terrifying
creatures of the night;

vampires.

- Yes.
- Yeah.

- Awesome.
- Makeup artists have long

used bats and their incredibly
unique anatomy as inspiration

for their bloodsucking creations

in all sorts of films,
like "Nosferatu,"

"Dracula," and "Blade."

So in your next
Spotlight Challenge,

you will be doing the same thing

by choosing a real bat

and using it as inspiration

for an original
vampire character.

- Oh.
- Nice.

- I love that.
- That's awesome.

- I love vampires.

I love bat creatures.

I love everything about this.

It's right up my alley.

- Now, before you choose a bat,

there is something
that I do need to tell you.

- Oh.

- Head-to-head battles are gone,

and this week
it's a battle royale.

- Oh.

- So that means it's everyone
for themselves

in one grand battle

to determine
this season's finalists.

- That changes everything.

This is do-or-die.
This is it.

- And I have another
game-changer to share.

Unfortunately, we only have room
for three finalists...

- Oh, my God.

- Which means half of you...
- [bleep].

- Will be going home this week.

- Oh, God.
- That's crazy.

I don't think I've ever seen
a challenge

that's eliminated
half of us before.

So I'm gonna do my best to be
on the half that stays.

- This is gonna be insane.

- All right,
now that all that nasty stuff

is out of the way,
let's select bats.

- Oh, that's awesome.
- You'll be choosing

from the false vampire bat,

painted bat,
slit-faced bat,

mouse-eared bat,
horseshoe bat,

and bamboo bat.

Walter, you're first.

- No way.

False vampire bat.

- Painted bat.

- Horseshoe bat.

- Mouse-eared bat.

- Slit-faced bat.

- The bamboo bat.

- We've got your bats,

but we have one more
piece of business

to attend to.

Jordan, since you won
last week's challenge,

you've earned the help
of an industry expert.

So let's meet him.

- All right.

- With a career
spanning 30 years,

he's kind of done it all,

but he's particularly
well-suited

to this week's challenge,

having created vampires
for "True Blood,"

"The Twilight Saga: New Moon,"

and "Underworld: Awakening."

Please welcome two-time
Emmy Award-winning makeup artist

Todd Masters.

- Ooh. Wow.
- Nice.

[applause]

- How's it going, man?

It's gonna be really cool
to work beside Todd.

Can't wait to hear
his vampire advice.

- Good to see you again.
- Hi. Good to see you too.

- Thanks for having me.
- All right.

You ready to get to work?
- Yeah. Sounds great.

- Well, if you would join Jordan
over there, please.

- Okay.
- Nice to meet you, man.

- Hey. How are you?
- Okay, guys.

Keep in mind
that this is your last chance

to show the judges
what you're made of

before they choose
this season's finalists.

Good luck.

- Thank you.
- Thanks.

- Bye, guys.
- Thanks.

- Thank you.
- No pressure.

- [chuckles]

[upbeat electronic music]

? ?

Look at all this to go--
okay, great.

- I've got
two hours with you.

This is a crucial challenge
to have the help

of an industry expert,

especially with three of us
getting eliminated.

It couldn't have come
at a better time.

- I mean, we're not
going cute, right?

- No.
- We're going creepy?

I picked the horseshoe bat.

We're taking a lot of
different ideas from the nose

and the ears to make him
really old-looking.

I think it'd be cool to kind of,
like, have him,

like, more sunken-in cheeks,

and, like, kind of mimic the
ears with, like, the cheekbones.

- That's totally it.

Yeah, yeah.
That's a great idea.

- I'm just planning on doing
a face and a cowl.

I'm really automatically
thinking quality over quantity.

I made this mistake
once before on my season,

and that's what sent me home.

So let's hope it's not a repeat

and I go into the finale
on this one.

- Big ears, big nose--

[upbeat music]

- Semifinal--to me,
it means "almost,"

and "almost"
is not good enough in my book.

This is where I was
on season two,

and I didn't make it
any further.

It's been eating at me,

and I don't want to
repeat history.

I have in mind a large,
intimidating character,

using the larger ears
of the mouse-eared bat.

So I'm gonna go angular
with a lot of the structure.

So it's more of an albino,
ancient vampire.

I literally need to destroy
every contestant,

because now
I'm against everyone,

and it's more like,

"I'm not in here with you.

You're in here with me."

? ?

- I want my vampire
to be a badass bitch.

I'm so happy
I got the painted bat.

I want her to be
irresistible to look at,

closer to a glam-pire.

I want her to have

really accentuated
bone structure,

and I want to make an umbrella

so that she won't get burned.

I feel focused,

and if I'm going out,
I'm going out swinging.

[upbeat music]

? ?

- One of the only challenges

that I look back
on my season and think,

"Wow, I wish I could have redone
that and made it cooler,"

was the Skull Island challenge.

I made a bat creature
with these huge wings,

and it was just a big disaster.

What I did accomplish
is that challenge

did shoot me into the finale,

and I would like to repeat that.

I have the false vampire bat.

It's the scariest-looking bat.

So the forms that I'm going
for are big powerful jaws,

really big bat ears.

I'm swinging for the fences.

? ?

[pulsing techno music]

? ?

- [whispering] I wouldn't
do that if I were you.

- Shut up, Derek.
- [laughs]

- Well, I feel like I started
off the season really strong

and then, like, slowly been
losing the challenges.

I'm getting my energy back up,

and I'm definitely motivated
to get into the finale.

I have this tiny, little,
itty-bitty bamboo bat.

It reads more cute
than ferocious,

so I think I'm gonna make
a sleek and sexy creature.

He's got some fun
nose anatomy

that I really want to base
my sculpture around.

I'm feeling pretty confident
in this design,

and I'm having a lot of fun,

which usually means
good things--

I'll knock on wood.

- I like that a lot, dude.
- Yeah?

- Yeah.

? ?

- I choose the slit-faced bat.

On this bat, there's a bit
split up the middle,

so I want to incorporate
that into my design.

I want my vampire to look like

she's been trapped
for centuries in a dungeon.

There's a lot riding on this.

I really want to do this
for my family, for my son.

I've been here a long time

without seeing him,
and it's hard,

and I've really got
to step it up,

because I want to be
in this finale.

? ?

- You want to do a little
switch, try a few things?

- Yeah.
- Is that all right?

- That's cool with me, yeah.

Our plan is to move
back and forth

between the two sculptures

so that they have
a cohesive feel to them.

I want something that you see

just how it resembles the nose
on the horseshoe bat,

because it's a really
cool shape.

- A lot of cat out of this
instead of bat--

- Right now, the nose feels
a little bit cat-like,

but once we get that
forehead piece put into there,

it's gonna have the more
bat feel to it.

- This is looking
really good, Jordan.

- Thanks, man.

- Yeah, you made some really
good decisions in here.

- I'm happy that I got Todd's
help on this challenge.

- Nice working with you.

It's been awesome
working beside you.

- It was actually a lot of fun.
- Oh, yeah.

- So thank you very much.

Good luck.
- Thank you.

He's really given me a lot of
energy to move on to the finale.

- Cheers.

[upbeat electronic music]

? ?

- Hi, everybody.

- Hi.
- Hey.

- Hi, Mr. Westmore.

- Now, what bat
did you select?

- I selected the painted bat.

- Your direction is toward,
like, a vampiress?

- Yes.
- Okay.

You've got a good start
on your face,

but everything you have
going here is cute.

This actually looks like
a pretty lady

that's gone to sleep.

You need to bring
a little bit more scary

to sell the vampire.

- Mr. Westmore does not
love my design.

- I haven't seen them yet,
but I'm concerned with

how it's gonna compete
with the other ones.

- He said, "I haven't
even seen everybody else's,

and I know yours is not enough."

Now I'm second-guessing myself
a little bit.

I don't want to make
it too batty.

- I don't want you
to go home, either.

- The competition
is thinning down.

So if I don't pull this out
this week, that's it.

I'm definitely going home.

McKenzie: The winner of
"Face Off: Battle Royale"

will receive a VIP trip from
Kryolan Professional Make-up

to one of their 85
international locations,

an all-new Fiat 500,

and $100,000.

.

[upbeat music]

- It needs some expression.

I would extend your chin
a little bit,

your ears--
doing the nose,

as opposed to being so cute--

- Now I'm second-guessing myself
a little bit.

I'm not sure if I'm gonna
keep it the same or change it.

I just need to think about it.

- Step it up
just a little teeny bit.

- Okay.

- And what bat did you choose?
- The mouse-eared bat.

- I think the main thing you're
gonna have to be careful with

in here--and I like it--
is your painting.

Maybe paler in the center

so it's really visible,

and let it pick up
its own shadows,

as opposed to you trying to do
a lot of shading in there

and getting this too dark
and losing it.

It's so busy, you really
need that to pop out.

- I got the false vampire bat.

- With the lips,

as opposed to giving it
a really human,

sharp edge on that,
that could become smooth,

because when you see
that tight lip line--

you know,
you put your hand on that,

- Mm-hmm.

- And you're seeing a person
there with a cleft chin,

as opposed to the vampire.

- Yeah.
- I got the slit-faced bat.

His nose is what
I'm really focusing on.

- I'm just wondering if you
ought to take advantage

of a little bit
more flair here,

because it's--
all of a sudden,

we have this little nose
peeking out,

and this is all falling
away from it,

as opposed to giving it

a little more definition.
- Bring it--okay.

So bring it outwards more
so it looks more deeper?

- Yeah, I'd bring it out
a little bit more.

Yeah.
- Cool.

- So I got the bamboo bat.

He's a tiny little critter.
So--

- Boy, he sure is.

- If I leave my blending edge
right here

underneath the jawline...
- Yeah.

- Do you think it's a good idea
to leave this split open

or do you think
I should close it?

- By leaving it open,

it's easier to close it up

and overlap it
than it is to all of a sudden

pull this over
and it doesn't quite fit.

- This gives me more play.
- Yeah.

It can be close,
but I would leave it open.

- Gotcha.
- I got the horseshoe bat.

I've got this really crazy
nose on his face.

- Mm-hmm.
With your cowl,

I would change your ears.

When I first saw it,
you know what I thought of?

- Dobby?
[laughs]

- Harry Potter,
here I come.

- Yeah.

- Well, I think
you've got a good start.

- Just change those ears up?
- I would say, for sure.

- Yeah.

- Bye, everybody.

- Bye, Mr. Westmore.
- Good luck.

- Thank you.
- Thanks.

? ?

- Mr. Westmore advises me
to up the forms I have

and make them
more exaggerated.

So I'm gonna take his advice
and make the nose and ears

look more specifically
like my bat,

but other than that,
I'm gonna stay true to my idea.

- I mean, I want her
to be pretty.

A lot of my competitors

do heavy textures
and heavy sculpts,

and I think beauty's a way

to highlight
what makes me different.

I feel like
I've just got to dance

to the beat
of my own drum this time.

- True.
- It's weird going against

Mr. Westmore's advice,

but this is the semifinals.
I can't be wish-washy.

I'm gonna make the most
beautiful vampire I can.

I'm committing to my ideas.

It's a whole new Mel.

[upbeat music]

? ?

- Thanks.

Mr. Westmore told me the nose
looks like it's deep in--

like, pretty much
a hole in the face,

and I definitely
don't want that look.

I want it to look like a bat.

So I'm trying to push out
the nose a little bit.

- This nose looks great, man.
- Yeah. Thanks, man.

The longer I work on it,
the cooler it's looking...

- One hour!

- But I'm not sure
if I'll have time

to mold it
and have it for tomorrow.

I think I could do it
in an hour.

- Quickest molder
in the game--

yeah, you got this.

[laughter]

- Funny.

? ?

- 15 minutes, guys.

- Time is ticking,

and I mold it,

but it's definitely not cured
enough to open and clean out.

- That's time.

- I just ran out of time.

- All right, all right,
all right.

- Most everybody got
their face molded

and has a cowl sculpted,
as well.

So it feels like I'm behind.

It's gonna be tough
to get into that finale.

- [grunts]

[upbeat electronic music]

? ?

- So for today, I just
really want to focus on

getting my sculpts done
as quick as possible.

This could be my last chance
to really impress the judges,

so I want all the detail,
all the textures,

to be as good as possible.

I finish up my face. I'm really
happy with where it's at.

So now I'm going in
and re-blocking out my cowl,

just because my original ears

were facing downward
a little too much,

and it didn't quite resemble
the horseshoe bat

that I'm trying to go for.

So I chopped those off
and repositioned them

in that more upward motion.

[lively rock music]

? ?

- I really want to prove myself

to the judges this challenge,

and I think my wings
will help do that.

I decide to take the mannequin
and lay it down

and structure the wings
out of clay

that I can
then stipple latex into

and have a finished product.

- Looks really [bleep] good.
- Thanks.

? ?

So I take my time to sculpt

all those details and forms
into the clay,

and then I can just stipple
the latex right on top,

and I don't have
to run it at all.

I'm hoping it'll save me
some time down the road.

? ?

[pulsing electronic music]

- Instead of doing
the predisposed

classic vampire wings,

I wanted to step out of the box
a little bit.

So I'm doing a scorpion-like
humpback feature

to create a striking profile.

I think it stands out.

It gives it that extra level

that no one else
is thinking about.

Time is ticking,
so I really need this piece

to come out well,

and then my sculpt cracks.

I'm feeling sheer panic
and horror.

Oh, my God. I'm not going
to have this back piece

that's gonna set me apart.

This challenge is deciding
who will be in the finale,

and I'm thinking,
"This could be it."

[dramatic music]

.

[upbeat electronic music]

- I'm freaking out that I'm not
going to have this back piece

and I'm just gonna be another
face and a cowl in the crowd.

I need to pull out
all the stops

to make this come together,

and so I just think,

"What do I have to do
to fix this?"

And I just reach
for a popsicle stick,

and I shove it in one side
and blend it under the mold

and start packing
on that ultra cowl,

and then a wave of calm comes
over me like a Zen state of,

"Okay, we've got this."
It's working completely.

[upbeat music]

- I have a lot of things to do.

I want to do a big chest,

and then I'm detailing
the cowl.

I really want it
to be powerful,

so I'm making traps
that are really big,

but I've been so focused
on my own work,

and I look across the room
and notice

that everybody's
already in the mold room

and has been in the mold room.

So I really need to focus on
knocking out this cowl

as fast as possible.

? ?

[upbeat rock music]

? ?

- I really want to keep
this bat fleshy but brown.

I'm gonna stick mostly
to the colors of my actual bat.

Even though I'm planning on
using the second face tomorrow,

so that way I can cohesively
paint everything at once,

it's nice to know that I have
this first face as a backup

in case time gets ahead of me
with application.

- That looks pretty bitching.
- Yeah?

- Yeah.

? ?

- What's our time?

- 27 minutes.

Time's running out,

and I'm worried

I'm not gonna
get these molds done.

There's still steam
coming off the mold

because it's still curing,

but I got to get this thing out.

- Got that sand hammer?

- Fortunately, it opens,

but it's full of clay.

I'm so close to the finale.

If I were to lose

just because
I can't get a mold out,

it would be crushing.

? ?

- That's time.

- Thankfully, I got my cowl
cleaned out just in time.

Even though I love
what I came up with,

I know I have
a lot of work to do,

and I know that it's gonna come
down to execution and paint job.

? ?

[dramatic percussive music]
[laughter]

- A lot to do.
- It's application day.

We've got four hours
in the lab,

one hour at Last Looks,

and then we find out
who is in the finale.

How does that [bleep] happen?

Walk in, and my cowl
has some steam pockets,

which happens when the mold
is just so wet,

and it collapses the foam.

Super weird--

It looks really terrible,

but the front of it
all looks fine.

So I'm just gonna hide it
with hair

and darker colors

and hope nobody notices.

[upbeat music]

- What's going on?
Good to see you again.

- Good to see you again.

- Ready to be a vampire?
- Yeah.

- One, two, three.

? ?

- So to apply these wings,

I posture my model

in the same way
I had the mannequin.

I have her hands up on stools
and I have her laying facedown.

Yeah, this is kind of perfect,
actually.

It takes a little bit
of finessing and a lot of glue,

but it's buckling
in a really natural way.

I mean, she can't do this,
but beyond that,

she's moving around.

They look like wings.

Cool.

? ?

- With this character,

I'm really pulling out
all the stops.

So after I get everything
applied down,

I go in with a brown
and start spattering

that on there lightly,

and then I go in with
a little bit of purples

and reds here and there,

just to give him that older,
liver-spotty look

and to have it kind of go along

with the dissipating hair,
as well.

Once I start laying the pinks
into the nose and in the ears,

I'm really starting to see
this horseshoe bat come to life.

- It's looking tight, dude.
- Thanks, man.

- Try tilting it forward.
- Yeah.

- Pieces turned out great, but
they're taking a little longer

than I expected to patch,

even though they're
very subtle little things.

I notice a lot of the
competitors already painting,

and I'm starting to second-guess
the amount of pieces I have.

I know that it has to be worthy

to make it into the finale.

[dramatic music]

? ?

- All right,
the scary part.

I'm going back to my roots
for this paint job

'cause I've lost the last
three battles in a row.

I'm blasting another color
all over your head.

You know, I've been trying
to do innovative things,

and I feel like it's biting me
in the ass

the last couple challenges.

So this time I'm gonna airbrush

absolutely everything on this.

It's just my forte.

I think you're looking
pretty good right now.

? ?

- For my vampire,
I'm gonna use the colors--

the actual palette
that's on the bat,

and the nose is my focal point.

I'm gonna go with some purples

and some blues
and a lot of browns.

It looks like--
more like real skin.

? ?

We got 15 minutes, guys.

? ?

- That's time!

I've got a lot to do still.

Leaving for Last Looks,

I am nowhere near
done with the painting,

so I start to panic
a little bit,

because this is as far as I got
last time I was on "Face Off."

I do have flashbacks
of that gut-wrenching feeling

of not having your name called
to get in the finale.

That's not where I want to be.

? ?

[dramatic music]

? ?

- We're in Last Looks.
We have an hour left.

An hour's not a lot of time
for what I want to do,

but I'll hope for the best.

Let's go ahead
and put that hump on.

I just start painting her hump.

I think the hump will give it
that creepy profile.

I want to be in this finale.

I want to make it to the end.

? ?

- I'm finishing up the paint job
with stencils,

and I just airbrushed
this blood splatter

to add the contrast
between the white and the red.

At this point,
every second that I'm using

is applying something
to this makeup.

? ?

- We've got to start
gluing some hair.

Hair laying is really tricky,

and it's really hard
to get it to look cohesive.

I'm laying this beautiful,
flowing mane.

It's gonna really
pop off the profile

and make that little
egg head shape

a lot more complex
and breathtaking.

? "Laying hair is fun" ?

? Said no one, ever ?

? ?

- 15 minutes, guys.

? ?

- That's time, everybody.

- Thank you for being awesome.
- You're welcome.

- I'm a little nervous,

because half of us
are gonna be eliminated.

So I really hope that I'm not
falling short of the finale.

I've actually been through
this situation before,

and going home at the semifinals
again would really hurt.

.

[dramatic music]

? ?

- Good evening, semifinalists.
- Thank you.

- Evening.
- Welcome to the "Face Off"

reveal stage.

As you know, tonight,
three of you will be eliminated,

and three of you will make it
to this season's finale.

Please say hello to the people

who have to make
that tough decision tonight;

our amazing judges--

owner of Alchemy Studios,
Glenn Hetrick...

- Good evening.
- Good evening.

- Evening, Glenn.

- Oscar and Emmy Award-winning

makeup artist Ve Neill...

- Good evening, everyone.
- [laughs]

- Hey.
- And, of course,

creature and concept designer
Neville Page.

- Hello.
- Hello, Neville.

- All right, let's get to it.

For your Spotlight Challenge,

we asked you each
to select a unique bat

and use it as inspiration

for an original
vampire character.

Because it is the semifinals,

we did away
with head-to-head battles

in favor of one giant
battle royale.

Let's take a look
at your vampires.

Matt, you're up first.

[dramatic music]

? ?

- I love this vampire.

It really stands out completely

from all the other makeups.

He has this kind of swagger

of that dark,
vampiric character.

? ?

- He's just so powerful
and so cool,

and his paint job
definitely stands out

from everyone else's,

and I'm loving
my makeup so much.

? ?

- It looks like
all of the boys' bats

are from the same town and mine
is from a different state,

but that's what a vampire
looks like to me.

? ?

- It's reading really well
from where I'm at,

and I'm really loving
the makeup that I did today.

It's 50/50 on who's
going to the finale.

So it's nerve-racking,

but I'm very confident
in my makeup.

? ?

- She looks rad.

I wish I would've painted
the chest a little bit darker,

but still, overall, I'm really
stoked on the way she looks.

? ?

- Standing there, looking at
my character on stage,

I really feel like this is an
All-Stars finale-worthy makeup.

I really wanted to go for
quality over quantity on this,

and I think I achieved that.

? ?

- Okay, judges.
Why don't you go ahead

and take a closer look
at tonight's makeups?

? ?

- There are some nice details.

I really like this little paint
detail on this jawline.

- I love this bold choice
to create a single dorsal ridge

instead of a pair of wings.

- Yeah.

- I love the coloration
on this one.

- Oh, yeah.

He's striking, powerful,
menacing.

- This is Mel's finest work
to date.

She's really gone for it.

- And I like the fact that she
made it so feminine, as well.

- The combination of that nose,
the chin,

and then the hunch on the back

really plays on the age
of the vampire species.

- Looks like she's wearing
a backpack, guys.

Come on.

I can't believe how beautiful
this chest piece is.

- Unfortunately, I like
the chest a little more

than I like the face.

- Here's this bitchin' dude.

Look at the detail and the
wrinkling on his forehead.

It's unbelievable.

- And he's using
every single drop of color

to push forth everything
he did in the sculpture.

Thank you.

? ?

- All right, guys,
so normally this is where

I would tell you that the judges

have scored your creations
and want to speak with you,

but tonight we're doing things
a bit differently.

Since half of you
are going home tonight,

we need to see what you're
made of as makeup artists.

- How do we do that?
- Now, sometimes in Hollywood,

there are last-minute changes
to the script,

and tonight is no exception.

- [bleep].

- So we need to see
what your vampires look like

after they've been
exposed to sunlight.

- Oh, man.

- You're getting another hour
of Last Looks

and one more chance
to wow the judges.

- Oh, [bleep].

This totally changes
the challenge.

I don't want to get this close
to the finale

and just fall by the wayside.

- An hour is no time
to transform

a whole makeup
we spent days creating.

So this has definitely turned
the competition on its head,

and I am just praying
I can make it through

this next elimination.

? ?

.

? ?

- You're getting another hour

of Last Looks

and one more chance
to wow the judges.

- Oy.
- Oh, [bleep].

- Models, why don't you
take your places

back in the makeup room?

? ?

Now, I know this is
a bit of a shocker,

but are you guys ready
to do this?

- Let's do it.
- Yeah, I got.

- Okay, your time starts now.

- Let's go.
- [laughing]

? ?

- Let's see how this goes.

- Back at it again.

This is what's standing
in between

me and the finale.

So I have to apply
an amazing burn makeup

and wow those judges with it.

My plan is to create
black texture

but also bloody, raw tissue,

kind of like sunlight is coming
in from different angles

and burning his flesh.

So I'm using Artex,
which looks flesh-like,

and then I add
some of the blood

and then brush over that
with black paint.

? ?

- All right,
let's [bleep] you up.

I've actually been through
this situation before.

On my season,
three of us had one hour

to make revisions
to our character,

and that one hour
was complete hell.

So for this one
I'm really hoping

that it's not quite as frantic,

and I start plucking away
foam from his head

just to make him
look really deteriorated.

After I get that done,
I start painting

different reds, purples,
and browns.

It's kind of sad
to pluck away this hard work,

but it's also cool
to transform him

into something completely new.

Looks pretty sweet, actually.
[laughs]

? ?

- Here we go.

For this burn makeup,

I'm using the gelatin

as a really melted part
of the flesh,

and then I lay
tissue paper over that,

and I peel that back,
like the charred flesh

is breaking away
and revealing the melted skin.

Come on.

But it looks
too much like rubber,

and I'm just kind of
smearing things around.

So I'm very nervous.

? ?

- I hate doing this.
I love this makeup.

We have to recreate
our vampires,

which I feel like
I should be exempt for,

because I'm the only one
who brought an umbrella,

but I'm gonna do the best I can

because I'm not ready to go yet.

I put some Artex on the face.

It makes it look
like it's melted,

rather than burned,

which is more of the look
I'm going for,

and then I add lots
of blood drips,

which creates a lot of depth.

It looks really creepy.

I want you to be, like,
a bloody mess.

? ?

- I'll burn your arm
and half your face.

I want to make her look like

she's trying to protect herself
from the sun,

and just the side of her
gets burned.

I grab black dust powder
and mix that into Pros-Aide

to make crispy burned material,

and then I start
painting yellows and reds

to give it, like,
a blistery look.

I feel it looks very realistic,

and so I'm just gonna do it
as much as I can

until the last few seconds.

You're kind of like, "Ah!"

- This Artex [bleep]
looks so badass.

I really want
the midway process of her

in the sunlight being burned
before she gets destroyed.

So I'm making all these just,
like, gross raised burns

that are extremely shiny
and gelatinous.

So it looks like these burns

go deep into the anatomy
of my vampire.

I'm feeling optimistic,

but I'm also
definitely worried,

because there's only three slots
in the finale.

- All right, guys.
You have 15 minutes left.

? ?

All right, guys.
Time is up.

- Oh-ho!
- Brushes down.

- Man, I thrashed
a makeup I really love.

My heart's sinking a little bit.

[bleep].
I don't like the burn makeup.

It's knocked me down
from one of the better makeups,

so now I'm definitely stressed
and worried about it.

It would suck so much
to get this close

and still not make it.

[bleep].
I just want to win.

[upbeat music]

? ?

- I think I pulled it off.

It looks like
it's pretty cohesive.

It has a fleshy look
with the charcoal burn,

and I'm just hoping that's
enough to pull me through.

- He's got some really nice
textured stuff here,

sort of boily.

- There's no directionality
to it at all.

Can you tip your head down?

- It's really nice up in here.
- He did a great job of placing

all the damage in a way

that still retains the beauty
of the original design.

- You can still see
my good makeup

underneath that crap that
I just smeared all over it,

but I don't know if the judges
will think it's as fun

and as cool as it was before.

- A lot of the damage is here
in the trapezius area.

- That's serious damage.

What's cool about this image
is he still looks badass.

- He didn't do all that much,

but at least
it's all from this direction.

- Once again, I've taken an
unconventional route to this,

and I hope that they appreciate

I went for something
a little different.

We'll find out.

- It doesn't feel like there's
a single source of inspiration.

- Yeah, I don't get it.

It's just a little blood
dripping everywhere.

- Her hair's also burnt.
- Singed.

- She burned the umbrella,

and then the vampire character
is patching it

to keep the sun off of it.

I love that.
I love the way it ties in.

- That's what all those
little pinpoints are,

is it came through the umbrella.

- I feel very confident
in my makeup.

I'm still nervous, obviously,
but it looks very realistic,

and I'm very happy
how it turned out.

- This makes a lot of sense.
- Mm-hmm.

- You can tell where
the source of the light is,

and he's the only one who got
into using these yellow tones.

- That exposure of fat

under the flesh feels realistic.

- I actually like
it better burned.

- Yeah. I just wish
it didn't end right there.

It kind of needs to--

- Yeah, it's just
a little too down the middle.

- Harvey Two-Face.

- She's smoldering,
the burns are glistening,

and it looks awesome.

It's really cool to go
from liking a character

to loving it
after destroying it.

- This helps
the forehead so much.

I almost wish it was there
to begin with.

It's really cool.

- What I like is this,

because it's just cutting
and eating into her.

- But, see,
there's no directionality

or no sense
to these burns, either.

- My vampire looks pretty cool
with his new burn makeup,

and I think the details that

I put into it
could make this a piece

that could get me
into the finale.

- I really like the singed hair.
It's grody.

- Yeah.
- The big space in the back

where it's really eating away--

- He's very, very strong,
though.

That perfect symmetrical
silhouette is destroyed,

which is very effective.

? ?

- All right, judges.
So we threw these guys

a real curveball tonight,

and let's talk about
how they did.

Why don't we start with Matt?

- I think it's the most unique
of all the designs

that were out there.

I was very impressed
with his ability

to create something that felt
authentic and original.

- And then he managed to do
a really beautiful paint job

on top of it, breaking it up
with all the speckling

and a little bit of veining.

- Well, one of the things
I love about Matt's work

is it's very intelligent,

particularly from a sculptural
perspective.

- Matt hasn't been on the show
since season two,

so he's had a lot of time
to perfect his art,

and I think
he's stepped up his game

and really shown us
some really beautiful work.

- All right, judges,
let's move on to Walter.

- It was so strong in both
front view and side view.

I've never seen
that silhouette before

on this type of character.

- I loved this paint job.

The beautiful blues--and then
he has some beautiful purples

around the eyes--
just really well done.

- He's killed pretty much
every challenge

that we've put in front of him.

He is a phenomenally
talented artist.

- All right,
let's move on to Mel.

- It came out
a little bit cutesy gothy,

as opposed to what I was
looking for in this challenge.

It's purposeful. It's her thing.
She owned it,

and I think she accomplished
what she set out to do.

- I appreciate that she was
shooting for something feminine,

but I think it fell
a little short.

- She kind of missed
on the burn thing.

It just looked to me like

little drips
of blood everywhere.

It didn't really look like
they were burn holes.

It was a good idea, but I don't
think she executed it that well.

- All right,
let's talk about Derek.

- I struggle with it,

because there's an element
that I love.

The middle of the face,
the nose area,

into the chin--
gorgeous--

the rest of it is soft

and undefined and nebulous,

both in the sculpture
and the paint.

- But the exposure makeup on
this was one of the best ones.

It was simple
and very authentic.

- It looked like a real burn,

as opposed to some of
the other ones,

which you really couldn't tell
what they were.

- All right, judges,
let's move on to Damien.

- The chest is very,
very interesting,

but it does not carry on
to the face.

The chest and the face
don't even match one another.

- And what about the burn?

Just big gooey blobs
everywhere--

- It felt more like
he was covered in acid,

kind of like that character
in "RoboCop."

- Damien has improved leaps
and bounds, and it's like,

"Where did this guy come from?"

Because it's a completely
different artist

than the person
that we last saw.

- And, finally,
let's talk about Jordan.

- His paint job was exquisite.

The freckling on the side
of the face

when we got close up,
all that beautiful work--

- I don't think it was
the best burn makeup.

It felt more like erosion,

but, regardless of it
being accurate,

it was really well-done.

- Jordan has really been
listening to us, has he not?

- Every week, better from the
notes that we're giving him--

- All right, judges, have you
chosen this season's finalists?

- We have.

- Fantastic.

Let's bring 'em back out.

? ?

All right.

It's time to find out
the first person

to make it
to this season's finale.

Glenn?

- The first person moving on
to the finale is...

[tense music]

? ?

- All right, guys.
It's time to get on Twitter

and tell us
who made your favorite vampire

using #faceoff.

.

- It's time to find out
the first person

to make it
to this season's finale. Glenn?

- The first person moving on
to the finale is...

[tense music]

? ?

Walter.

[applause]

You have a unique aesthetic,
and you've delivered us

fantastic makeups
all season long.

We absolutely cannot wait
to see what you do next.

- Thank you so much.

Being the first name called
feels incredible,

and I'm so incredibly happy

that I have another opportunity
at $100,000.

- Walter, congratulations
on being the first finalist.

So, Glenn, who is the second
person making it to the finale?

- The second person moving on
to the finale is...

[tense music]

? ?

Matt.

[applause]

? ?

Your creative vision--
certainly one of a kind,

and we're always excited to see

what you've got to offer
from week to week.

Congratulations.
- Thank you so much.

I'm overwhelmed
with so much emotion.

It's good to finally
be in the finale

and to battle it out

with "Face Off"'s best head-on.

- Congratulations, Matt.

You have also made it
to the finale.

- Thank you.

- All right.
We have four All-Stars left,

and only one of you
can join us in the finale.

So, Glenn, who is the winner
of this challenge

and the third person
joining us in the finale?

- The winner
of tonight's challenge,

and the third and final artist

that will be joining us
in the final, is...

[tense music]

? ?

Jordan.

[applause]

? ?

It has been amazing to watch
your evolution this season.

It's obvious to us
that you've been listening,

and each week we've seen your
makeups get better and better.

- Thank you.

It's an amazing feeling to know
that I won this challenge,

but we've still got
that one challenge left,

and I want to take
this entire competition.

- Congratulations, Jordan.
- Thank you.

- Unfortunately, that means,
Mel, Derek, and Damien,

you have all been eliminated.

It's been amazing
having you back here with us,

but if you'd please,
head back to the makeup room

and pack up your kits.

- Bye, guys.
- Bye.

- Good luck, guys.
- Good luck, guys.

- Good job, you guys. Great job.

- Congrats.

Getting eliminated
is bittersweet,

but I made it to the semifinals,

which is great,
because that's further

than I made it
the last time I was here.

It's been a wild ride
and it's been lots of fun.

So I definitely have a lot
to be proud of.

- It sucks to get to this place
twice and not go to the finale,

but the competition
was really hard.

I'm proud of what
I accomplished,

and I'm proud to say I made it

to the semifinals
in both my seasons.

- I'm disappointed.
I wanted to get to the finale,

but I'm proud of the makeups
I did while I was here,

and I know
it's just gonna make me

that much of a better artist.

? ?

- Congratulations again
to all three of you

on being
this season's finalists.

I will see you back here
on stage tomorrow morning

to tell you about your
final Spotlight Challenge.

Bye.

- Thank you, guys.
- Good night, guys.

- See you.
- Good night, guys.

- It's game time.

I want this as bad
as I want to breathe.

Everything comes down to this.

McKenzie:
Next time on "Face Off"...

Let's talk about
your final challenge.

- I want to win this.

- I'm just getting less
and less happy with it.

- [grunts] Oh.
The whole mold falls apart.

- What is it? I don't know.

.

McKenzie: Previously
on "Face Off: Battle Royale"...

the artists tackled the tarot.

You will each be making
your own version of Death.

- Awesome.

McKenzie:
And Matt's divine Death

gave him
his second straight win.

And tonight...

You'll each choose
a real exotic forest

and create the dryad
that protects it.

- Yeah!
- This is a badass

lady challenge.

- It's gonna look
like a disease.

- I'm getting very stressed out.

- I have no idea
how to mold this.

It could be a catastrophe.

- This is "Face Off:
Battle Royale."

[all cheering]

[exciting music]

? ?

? ?

- Kind of got
a Camp Crystal Lake feel, right?

- Oh, yeah.
- Yeah, it does.

- We get to Griffith Park,
and we're walking

into this little hiking
trail full of trees.

It's really a nice treat to go

to this little oasis
out of the city.

- Interesting.
- Good morning, guys.

all: Good morning.
- Hey.

- Once upon a time,
people believed

that forests were protected by
spirit guardians called dryads,

and they thought that
if they knocked on wood,

they might also earn
their protection.

- Huh.

- Now, in films
like "The Chronicles of Narnia"

and video games
like "The Elder Scrolls,"

dryads are depicted
as beautiful and powerful,

with deep bonds to nature,

so in this week's
Spotlight Challenge,

you'll each choose
a real exotic forest

from around the world

and create the beautiful
dryad that protects it.

- Man!
- [laughs]

- This is a badass lady
challenge.

I'm so excited
to bring this to life.

- Next to me are the names
of the forests

that you will be choosing from.

They are
the Avenue of the Baobabs,

the Dragon's Blood Forest,

the Painted Forest,

and the Ancient
Bristlecone Pine Forest.

There are two for each forest,
so when you choose one,

don't forget you're also
choosing your battle partner.

Matt, you're up first.

- Dragon's Blood Forest.

- Ancient Bristlecone
Pine Forest.

- Avenue of the Baobabs.
- Dragon's Blood Forest.

- Oh, first battle.
- Challenge activated.

- The Ancient
Bristlecone Pine Forest.

- Avenue of the Baobabs.

- Painted Forest.
- Painted Forest.

We're going at it.
- Hmm.

- So, our head-to-head battles
this week are

Matt versus Derek,

Mel versus Damien,

Kevon versus Jordan...

- Let's go.
- And Walter versus Graham.

- Boom!

- All right,
you got your forests,

but there is more
to this challenge.

- Of course.
- Uh-oh.

- While dryads are best known

as beautiful creatures
that bring good luck,

they are also fierce guardians

who will protect
their forests at all costs,

so with that in mind,

you'll also have to create
some type of armor

for your characters.

- I do a lot of armor
and a lot of fabrication,

but it's worrisome

that I have to rush
as fast as I can.

- Now, last order
of business, Matt,

since you won
last week's challenge,

you've earned the help
of an expert today,

so let's meet him.

With more than 20 years
of experience,

he's known
as one of the top sculptors

and creature designers
in the industry.

Contributing
his extraordinary talents

to major blockbusters
like "Avatar,"

"The Chronicles of Narnia:
Prince Caspian,"

and "Hellboy,"

please give a very warm welcome

to the incredible Jordu Schell.

[cheers and applause]

- It's the one and only
Jordu Schell.

I used to look at his work
when I was a younger FX artist,

so it's surreal to be able
to have him

and his expertise working
with me in the lab.

- Good to have you back.
- Thank you so much.

- So last time
you were here to judge,

but how do you feel
about getting your hands dirty?

- That's what I do,
and I can't wait.

- That's why we love you.

All right, why don't you
go ahead and join Matt?

- All right.
- Thank you.

- Hey, Jordu!

Great to meet you.
- Hey, buddy.

- All right, guys,

I will leave you to it.

Why don't you
enjoy the trees around you?

And if you need a little luck,

don't forget to knock
on some wood. Bye.

- That was so stupid.
[laughter]

? ?

- I'm thinking some sort
of headdress or headpiece

that kind
of branches off like that.

The sculpting is really
gonna be key.

- Mm-hmm.
- You know, as, of course,

I'm gonna say
because I'm a sculptor.

- The Dragon's Blood Forest
trees are very mushroom-like,

so we're both thinking big cowl

to bring out the tree shape

and a reptilian face

but keeping it beautiful
as well.

Derek's an amazing artist,

so I'm glad I have Jordu
at my side

to help me create
something dynamic.

It's a complete honor
to have Jordu working with me

on this--
on this project and--

- You better say that.
- Yeah.

- The Painted Forest is filled
with eucalyptus,

so the one thing that I notice
about the eucalyptus

is that its bark peels off,

so I'm going to create
an over-mask

that can be peeled away
to reveal colorful bark.

Walter's definitely
gonna make it hard for me

because I know he knows
how to build armor,

so I'm gonna stick
to what I'm good at,

and do a nice, clean makeup.

? ?

- My dryad is the defender
of the Painted Forest.

I want her to have
a bit of war paint,

so the bark will peel away
to reveal the war paint.

I'm gonna make armor
out of Worbla.

I'm gonna shape it around L200,

and other than that I'm just
gonna keep it very treelike.

I'm gonna lose some of the human
anatomy like the nose,

and really accentuate
the tree stuff

in the back of the cowl.

? ?

- I really love the fluidity
of the bark,

and I see it
sort of traveling up her body

and having this long wig.

I really want to focus
on beauty and sensuality,

and I want to bring
all those elements out.

- All right, guys,
let's head back to the lab.

? ?

- I end up
with Avenue of the Baobabs.

There are a lot of cool textures
in the tree,

so I'm gonna go with a lot
of that for my character.

My concept is this
wood elf priestess,

so she's gonna have
the branches

from the baobabs trees
coming out of her forehead

like a crown,
and then for her armor,

it's just gonna be
this awesome chest plate piece.

I'm battling Kevon again
for this challenge,

so two friends battling
against each other.

It should be interesting.

- I want my dryad to look
like a tree in appearance,

but she's going to open up,

and what you thought
was the external bark

are actually her two shields,

so I grab some sheets of L200

and start forming them
around the mannequin

in the shape
of the two shields I want,

and then I start sculpting
a face and a cowl,

and even though symmetry is

a really important
beauty standard,

I'm going asymmetrical
with my entire design

because I want to do something
a little different,

which is kind of risky,
but hopefully it goes well.

- I'm going with the idea
that this dryad is, like,

an ethereal
elvish-type character within,

and she's actually using pieces
of the bristlecone pine

to give her this armor

and make her stronger.

I haven't battled Mel yet.

I know she's an extremely
talented beauty artist,

especially when it comes
to fantasy makeup,

so I definitely know
that I'm gonna

have to bring my A-game
this time.

? ?

- I've got Jordu by my side,

and he's knocking out
the face sculpt,

and I start blocking
out the cowl.

- Make sure to really get
that going, okay?

- He's like, "No, no, no.
Go bigger."

I go, "Okay, " so I start
putting more clay on it.

- You need to go up higher.
- Higher?

- Yeah, I think--
I think it--

you need to get more
of the feeling of a trunk.

- Then he goes,
"No, no. Bigger,"

so I put more clay on.

I'm like, "Okay, this is
becoming the biggest cowl

I've ever made in my life."

- You know, getting bigger
and bigger.

- Yeah.

- And then, you know,
just kind of do

some cool [bleep] up there.

- It's magnificent, and it's
almost like a freak show,

and I think it may be
just enough to really stand out

to sell this whole package.

- I'm still trying
to figure out my concept,

and I look to my right,

and Jordu already finishes
a face sculpture,

and it's looking awesome,

and then they're sculpting

this massive cowl
in the shape of a tree,

and I think it's the biggest
cowl ever made on "Face Off."

My guts sinks down,

and I'm now worried
about the challenge.

[dramatic music]

So I pretty much just grab clay
and start sculpting,

not sure if I'm
even gonna make a cowl

or how I'm gonna
incorporate the tree.

They're doing something
awesome,

and I have nothing
in my head right now.

I'm not sure what I'm gonna do.

.

[dramatic music]

- At this point,
I start to notice

just how much work
Matt and Jordu have done,

and it's frustrating

because I got to get things
going fast,

but then I notice
the tree looks helmet-shaped,

and then ideas just start
coming into my head,

so for my armor,

I'm thinking of shapes
like Spartan-shaped helmets,

but with the same
twisting branches

from the tree,

and I want it to look
like it's growing on the armor.

I feel like I see the images
of the tree coming together,

so now I need to catch up.

[energetic music]

- I've taken a lot of time
on this over-mask,

but I still have to sculpt
a forehead, cheeks,

nose, lip to go underneath it,

and it's got to look beautiful,

so there's a whole lot to do,

but I feel like I have
a pretty strong concept

that fits the challenge.

And I might end up scoring it
so that she can be like...

"Aah!"

- That'd be pretty cool.
A nice reveal.

- Yeah, 'cause she'll be real,

"Nyah, demon,
leave my tree alone."

- Quit trying to distract us,
Graham!

We're trying to sculpt!

- That's my strategy, Jordu.

I know Jordu.
My wife is his assistant,

so he's making fun of me.

I'm making fun of him.

- Where's all the drama, man?
I expected to come here

and there'd be fistfights
and blood on the floor--

- You're causing drama
right now, Jordu.

You're causing it right now.

- Graham is kind of a--
he's a bad guy.

He's an evil person.

Hey, man, that shirt you're
wearing is really tight, dude.

- Yeah, well, I've been
trying to lose weight.

It's just insane the amount
of work that this guy is doing

while being able to goof on me.

You just "leaf" me alone.

[laughing]

? ?

- Gonna have to make this look
a little more like bark,

like a tree,
like we talked about, okay?

- All right.
- You can handle it?

- Yeah, this is amazing work
right here.

- All right.
- It's beautiful.

I feel motivated, excited.

I've got a huge head start.

- Good luck.
- Thank you so much.

But the cowl is intimidating.

It's the biggest cowl
I've ever sculpted or molded,

and there's no more Jordu,

so it's up to me
to get this done.

- That's nuts, dude.
- Yeah.

- Have fun molding that, spaz.
- Yeah, yeah, yeah, yeah.

? ?

- Hi, everybody.
- Hello.

- Hey.

- I really like
the asymmetry on this.

- Mm-hmm.
- So I'm kind of trying

to bring that
half-moon shape into there.

- That's good. Yeah, yeah.

My only concern with it is

you've covered up
2/3 of her face.

- Mm-hmm.
- And we're losing our--

our girl.

I think we need
a bit more of her in there.

- All right, awesome.

- The model has
the ability to hide.

It's gonna have
these two armor pieces.

- Well, you've got
a lot of work to do.

- Yeah.
- The bark really has

to blend
with the whole thing,

or it's gonna look
like a disease

as opposed to part of the tree.

It's something you really,

really have
to be careful with, okay?

- All right.
- So I'm gonna be taking

a lot of the texture
from the fatter areas

and using that
in the armored pieces

as well as in the headpiece.

- Be careful with that so it
doesn't look like--you know,

that could look
like Elephant Man.

- Yeah.
- That we don't want to do,

that texture.
- Right.

- So if you do it,
do it very subtle.

- Mm-hmm.
- I have this,

which is gonna be
sort of an over-mask,

which I want to really have
a beautiful part to it,

and then underneath I have
a couple of appliances

that'll be a tad more sinister.

- The way you've designed it,
she looks a little sad.

- Mm-hmm.

- The challenge was
at least attractive.

If you're doing
a reversal on it,

you need to let the judges know
why and what you did.

- Okay.
- Bye, everybody.

- Bye. Thank you.
- See you, Mr. Westmore.

? ?

- I can't believe I'm doing this
all over again. [bleep].

Mr. Westmore said my face
looks a bit disease-like,

so I do feel like I need
to probably adjust it.

[bleep].

This will hurt me on time,

so I am getting
very stressed out,

but I think I'm making
the right decision.

I think the clay forms integrate

with the model's face
better than before.

Oh, man.

- 30 minutes!

? ?

- That's time, everybody!

? ?

- Go, go, go.
- We get to the lab,

and there's not a minute
to spare.

I start working on the face.

I'm worried
that the piece of bark

that comes down over the cheek

is maybe not feminine enough.

I don't want her
to look monster-y at all.

I want her to be very beautiful.
Is this feminine?

- That looks good
'cause it's asymmetrical.

- Derek reinforces my vision,

and his affirmation makes me
feel comfortable to move on

with what I'm doing and make it
perfect and ready to mold.

[energetic music]

? ?

- I'm happy with the shape
of the cowl.

I really just need to work
on the texture

and the little detail aspects,

so I extend the clavicle,
and I extend the scapula,

and I move
the bone structure out,

and I'm adding twigs to it
to make it feel like a tree.

I definitely think it makes
this character

more powerful-looking,

and I really like
where it's going.

- This looks really pretty.

- I'm moving on
to the chest piece.

It's going to be very prominent

in the middle
with a lot of texture,

and I want the bark
to move with some fluidity

so up close it has
the texture of the baobabs

but is also contouring her body

in a very flattering,
feminine look.

? ?

- I'm adding fine detail
on this cowl,

but my goal was to get this
run in poly foam today

on top of sculpting a chest
on top of working on armor,

so I'm feeling there's no way
I'll get all this done

unless I get this molded now.

The molding is gonna
be horrible. God.

And it's so big,
and it makes me nervous

because this is
really important.

It's an elimination challenge.
Two of us are going home,

so this is real now.

This is do-or-die,

but I have no idea
how to mold this behemoth.

A lot of things could go wrong,

and it could be
the most amazing,

elegant piece ever created
in this competition,

or it could be a catastrophe.

.

- The cowl is so big
that molding this thing is

likely gonna take me
the rest of the day,

so I'm gonna tackle both sides
at the same time

to finish as quickly
as possible,

but a lot of things
could go wrong

with such a big, heavy piece,

so I hope that it works out.

This is an abomination.

It shouldn't exist.

- We need to incorporate some
type of armor for our character.

Her armor is just gonna be
this awesome chest plate piece

that resembles a lot
of the textures

that you see in the trees.

I know I'm battling Kevon,
and I know

he's doing something crazy,

but I'm just trying
to stay focused

and get the cleanest makeup
that I can.

- My chest piece is
very ornate,

and that's what I want,
'cause she's supposed to be

this beautiful, fierce warrior,

so I'm trying to have
a good cohesiveness

of organic features and metal.

Everything's coming together.

I have a clear vision,
and it's looking awesome.

- That's [bleep] cool.

- I really want to use
the tree parts as the armor,

so the tree is gonna be
her chest plate,

as well as this tree gauntlet

that she's gonna have
on her hand.

I'm gonna be
fabricating this hand,

so I just block out
the rough shapes in clay,

and I wrap that with tin
foil and tape.

Then I'm able
to section off each finger

and cut those pieces off
and lay them flat.

That gives me a pattern that I
can use to cut out in L200,

which I can then heat form
back into the shape that I want

to have
a lightweight foam version

of that clay hand
that I sculpted.

I'm pretty happy with the way
this hand's looking.

- One hour!

[energetic music]

? ?

- All right, guys, it's time.

- We will do battle.

- My cowl mold is open,

but I didn't have enough time
to run it in the poly foam,

and there's a lot of work
still left to be done,

so that's all pushed
to application,

and that's really nerve-racking.

? ?

[laughter]

- Let's go! Go! Go!
- Go, man, go!

- I bolt into that lab
going straight for that cowl,

and I mix the poly foam,

and then I pour equal amounts
in both sides,

and it starts to foam up.

Then I clamp them around
the main core of the cowl

and just pray for that
to be enough to expand,

'cause I get one shot at this.

- Hi.
- Hi, how's it going?

Nice to meet you. I'm Jordan.
- Rachel.

- Crystal. Sorry, hugger.
- Hey, awesome.

- You're gonna be
so beautiful today.

- I have so much to do.
Big chest piece,

a big cowl piece,
a big face piece,

and I really need to have
a great paint job

and application
to win this thing.

Luckily for me, Matt has to make
his cowl out of poly foam,

but it's going to be a race
to the finish.

- So the rad thing about this is
once you hit it with heat,

you can just do whatever
we want with it.

- Yeah.
- I still have to figure out

how to make this armor,
so I quickly grab some Worbla,

and I start making
the shoulder armor. Done.

- Yeah.
- All right.

- We got this.
- So all the armor is

starting to come together,

but I look over at Walter,
and he's got, like,

a whole creature going,

so I'm just hoping that I've got
enough to keep me around.

- I've waited for the cowl
to fully cure,

so I pry that open,

but I underestimated

the amount of foam needed
for the top of the head,

and so it just kind of
flops open.

That is a gut-wrenching
feeling.

I'm gonna have to patch this.

Everything is going wrong
that could go wrong,

and I really feel panicked.

So now it's all about seaming
and applying that cowl

and getting it not looking
like a Frankenstein patchwork.

Oh, there we go, there we go.
We got it.

- You can, like, do the--
use this makeup if you want,

and then, like,
line the outside with that.

I am nervous
about this beauty makeup,

so I grab a couple colors
of lipstick that I like,

and I actually
have Megan go back

and put her lipstick on
herself,

because she knows her lip line
better than anybody else,

and then I'll be able
to add some contrast to it

with black after the fact.

That looks fantastic already.
I'll be able to work with that.

- I think I need to tone it down
a little bit.

As I'm working
on my base layer,

I realize it's just kind of
this brown, muddy shape,

and I don't like that,
but if I zero in on the face,

that should help
drive my direction better,

so with this beauty makeup,
I feel like I'm making it up,

but it's making the face
a pleasing focal point.

- The painted eucalyptus demands
a good paint job,

and that takes time,

so I get my base coat down
as quickly as possible,

and then I'm painting
warrior paint on the face,

but the clock
just keeps moving,

and I'm really getting down

to where I'm not having enough
time to add little details,

so each minute lost is
a detail lost,

and that sucks.

? ?

- The more items I get on her,
the more feminine

and badass she looks.

I'm battling Damien this week,
and I think we took

very different approaches
to the challenge.

I sort of saw the tree
as part of her anatomy,

and Damien viewed
the tree as her armor.

It's cool seeing two people
approach the same challenge

differently, but who knows

what the judges will like?

- 15 minutes, guys!

? ?

- And that is time!

- I've got a well-applied face,
and that's it.

With one hour to spare,
it's not a good place to be.

.

[dramatic music]

- Okay.

I managed to win my battle
last challenge

by painting at Last Looks,

so I'm hoping I can do it again,

but there's so much paint
to do,

so this is a precarious place
to be in.

? ?

- I'm adding black patterning
as a moldy speckle

coming out
from underneath the wood.

It's a really
good graphic breakup.

I really like the way
this makeup's coming out.

She looks like a badass,
hot forest warrior.

- This [inaudible].
It's definitely not looking

exactly how I wanted it,

but I just don't have the time,

so I'm needing
to just get colors down

so that the idea gets across.

It's so crooked.

- These shields are
looking rough,

but I feel like
with a solid paint job

I can really bring them
to the level I want,

and the more this
comes together,

the better
my confidence becomes.

- Please stay.
These eyelashes are heavier

and a little more rigid
than normal eyelashes

because they literally
have gold leaf on them,

but this warm metallic near her
eyes will be really beautiful.

Oh, yeah, girl.

- Ten minutes, guys.

? ?

- That's time!

- This makeup--
it's not beautiful.

It's just not
what I imagined at all,

and that's stressing me out.

- Good evening, everyone.

Welcome to the "Face Off"
Reveal Stage.

As you know,
we will be sending

two more of you home tonight,

but before we get to business,
please say hello

to our incredibly
talented series judges,

owner of Alchemy Studios,
Mr. Glenn Hetrick.

- Good evening.
- Good evening, Glenn.

- How's it going?
- Hello, Glenn.

- Oscar and Emmy Award-winning
makeup artist Ms. Ve Neill.

- Good evening, artistes.
- Hey.

- Hello.
- And of course,

creature and concept designer
Mr. Neville Page.

- Hello, guys.
- Hey, what's up, Neville?

- Hello, Neville.
- All right, let's get to it.

For this week's
Spotlight Challenge

we asked you to choose
an exotic forest

and create the beautiful
dryad that protects it,

and because your dryads are
fierce guardians,

we also asked you to create
a piece of armor for them,

so let's take a look
at your creations.

[suspenseful music]

? ?

- The challenge is more beauty,

and the dryad's very muddied
and creature-esque.

I could be on the chopping
block tonight.

? ?

- My character is
looking really cool.

I feel like I was able
to bring out

what was on the tree
into my character.

? ?

- I love my sculpt.
I love the armor.

I love everything about it,

but I feel that it's
an incomplete paint job.

? ?

- I'm not happy
with this makeup whatsoever.

It looks like I just threw
every color that I had on her.

It looks like a crayon version
of a makeup.

? ?

- This is my favorite makeup
I've ever done on both seasons.

I think she looks
like a badass tree fairy,

which in my brain is
exactly what a dryad is.

? ?

- She looks fantastic.
She's doing lots of these

fighting stances
with the sword,

but I really like
Mel's makeup too,

so there's no way to guess
what's gonna happen.

? ?

- I can see all the texture
and detail on the two shields.

That is a really cool character.
I'm very happy with this.

? ?

- Kevon went very detailed
with his,

and I went very minimalistic
with mine,

so I'm not sure how this is
gonna play out for either of us.

? ?

- Okay, judges,
go ahead and take a closer look

at these divine dryads.

- Wow. This is huge.

- She's definitely
not beautiful to me.

- I think she looks like a fish.

- I love all of these glyphs
that are just carved in.

It treads the line
between the magic of the dryad

and actual tree texture.

I don't know that the colors
are helping it,

but this is an absolutely
beautiful sculpture.

- I kind of like this
up close much better

than I did from far away.

- And I love the shapes.

- I love the fact
that this is really smooth.

Then you have all this
beautiful texture with the bark.

- It's feeling
a touch possessed,

almost like a "Exorcist" makeup.

- Looks like he's taken a copy
of his makeup

and turned it
into something else.

- I don't care for the red eyes
or the red fingernails.

- Or the eyelashes,
quite frankly,

but she's taken advantage
of this particular tree

because it is so asymmetric.

Thank god Megan's lips
are present

because there's the beauty,

and beyond that,
it's bordering on grotesque.

- This is like a big crab
claw hand. Bizarre.

- This concerns me a great deal.

- It's sort of back to where
we were before with him.

He's trying to do
too many things.

- Yeah.

- She's beautiful.
- I think it's a good balance

between the dryad and the beauty

and the armor and the tree bark.

There's a lot of things
that he balanced very well

in this design.

Thanks.

- All right, the judges
have chosen the winners

and losers of each battle,

so let's find out
which artists were victorious.

In battle number one,
Matt versus Derek,

the winner is...

[dramatic music]

? ?

All right, guys,
it's time to get on Twitter

and tell us who made
your favorite dryad

using #faceoff.

.

- All right, let's find out
which artists were victorious.

In battle number one,
Matt versus Derek,

the winner is Derek.

[applause]
- Congratulations.

- Thanks. Good job.

- Battle number two,
Walter versus Graham,

the winner is Walter.

- Good job.

[applause]

In battle number three,
Mel versus Damien,

the winner is Mel.

[applause]

And finally,
in battle number four,

Kevon versus Jordan,

the winner is Jordan.

- Not bad.

- Congratulations to all of you

who came out on top.

All right, the judges would like
to speak with some of you

before making their decisions.

Damien, you're up first.

[suspenseful music]

? ?

- Hi, Damien.
- Hey, Glenn.

- Tell us about your dryad.

- I chose the Ancient
Bristlecone Pine Forest.

A lot of the trees
are dried out, withered,

and twisted, so I really wanted
to go with that shape,

and she's been using
the tree as armor,

so that's becoming
a part of her now.

- It definitely has issues.

You would have
benefitted greatly

from a more symmetrical approach
to that face.

I understand that you're
taking a note from the tree

with the very twisty
nature to it,

but it's just weird that you
just see a sliver of her face.

You need to find
a better way to do that.

- I totally understand
what you're saying.

- This big piece of tree trunk

almost looks like a big,
gray crab claw or something

because that really
doesn't look

like that's integrated
with her body at all.

It's too bad, 'cause
the sculpting is really cool.

Parts of it just don't
jive for me.

- The way you've managed
the sculpture

and the fabrication
is beautiful.

It's just the way it's laid
out feels so arbitrary,

so it didn't add up
to something great today.

- Damien, please head back.

Derek, please step up.

- Would you please tell us
about your dryad?

- Most elite knights
usually have ornate armor,

and I wanted
to incorporate that,

but I also wanted to incorporate
the tree into her design.

- Well, I think you were
very successful with that.

Her armor's beautiful.
I love the copper color,

and I like that you incorporated
the tree into her armor

as well as her forehead piece.

It's quite beautiful.

- Thank you.
- All this texture in her face

should not work,
but up close it really does.

There's some really
beautiful moments

from the chest to the shoulders,
the headdress.

It's a success
from my perspective.

- Thank you.
- You were able to truly get

in there and exploit
all the work you did

with your sculpture
with the colors,

and the fact
that it's not a color

but it's an entire palette

subdividing up the different
sections, brilliant.

- Thank you. Appreciate it.

- Derek, please step back.

- Good job, Derek.
- Thanks, man.

- Kevon, please step up.

- Tell us about
your dryad character, please.

- She comes
from the Avenue of the Baobabs,

basically, I wanted
her shields to be her armor

as well as a mechanism
for her to camouflage,

and I wanted
the tree bark texture

to drive the entire design.

- I don't see
that specific tree.

These giant knots are
so arbitrary and anonymous

and not very well delineated.

- The shields are
quite successful.

I love the idea that she can
shield herself with them

and then just mix
into the trees,

but the head,

the most important thing,
does not work,

and it's because there's so much
of that asymmetry

carried up into the design
of the cowl piece.

- I just think you missed
the mark

with a lot of the body sculpting
that you did,

and it just doesn't fit
the challenge,

and it's too bad, because you
left enough of her face alone

so that she still
stayed beautiful.

- Well, thank you.
- Kevon, you can step down.

Walter, please step
to the center.

- Walter,
tell us about your dryad.

- Well, I got
the Painted Forest.

I wanted her to be beautiful
and also be a warrior.

That's why I went
with the elfin warrior armor,

and when this tree's bark
gets peeled back,

it reveals war paint.

- That right there is
what makes this so amazing.

The concept is just phenomenal.

It feels like the spirit
of the thing

is emerging
from the outer shell,

which is the armor, and for me,

you cannot get more spot-on
to succeeding in this challenge.

- Thank you.
- She looks quite beautiful

up close--great profile.

Love the collarbones
with just a few little twigs,

and I really loved all
the different textures in it.

Really nice job, honey.

- Thank you very much.
- I just love the fusion

of arboreal biology
with human anatomy

in the shoulder area.

It's so cool
because it feels functional.

- Thank you so much.
- Yeah.

- Walter, please step down.

- Thank you, Nayeli.

- Graham, please come forward.

- Graham, tell us about
your dryad character, please.

- I was looking
at the eucalyptus tree.

A lot of the bark
reveals these colors,

so my design was
to have dry bark

that peels off
and makes these plated skirts,

and she's really bright
on the inside.

- I got to say,
she doesn't look pretty,

and she could have
looked pretty.

If you had done some soft
blending of colors,

it probably would have
worked a lot better,

and you're gonna have to learn
how to do beauty makeup.

That would have
really helped this makeup a lot.

- The choice of the cheekbones
feels unnecessary

because it causes her to feel
like her eyes are sunken,

and then the way it's painted,

all of these things create
a character who looks possessed.

- I absolutely love the idea
of the nose shape

and the lip shape,
but the best parts

of your makeup
are buried beneath bad colors.

- You are very correct.

- Graham, you can step down.

- That was awesome.

- All right, thank you.
If you'll please head back

to the makeup room
while the judges deliberate.

- Thank you.

- All right, judges,
so we do have a lot

to talk about tonight.

Why don't we start with some
of your favorite makeups

of the evening?

Let's start with Derek.

- Good concept,
and it was a really

well-crafted sculpture,

and it miraculously sustained
beauty as well as power.

- The way that he chose
to subdivide the forms

and use bark-like texture

without it being exactly
like bark--gorgeous.

- All right, let's talk
about Walter's work.

- I think Walter
was very successful

with the beauty end
of his as well.

It looked almost like
a velvety moss on her face.

It was so pretty.

- My absolute
favorite feature was

how he dealt with the clavicle.

It felt like a perfect hybrid

of organic wood combined
with human anatomy.

- All right, judges,
unfortunately,

we do have to send
two artists home tonight,

so let's move on to the makeups

that didn't work
for you this week.

Let's start with Damien.

- I don't know
what he was thinking of

when he just slapped
those big chunks of wood

all over
that beautiful girl's body.

- I think it's his roughest
work yet, which confuses me.

Just when it seems like he's
going in the right direction,

he takes three steps back.

- He's so inconsistent.
- All right,

why don't we talk
about Kevon's work?

- His choices feel arbitrary.
To choose doing knots

which are not in this tree
really harmed him today.

- You cannot possibly
concentrate that much

on the shield thing

without knowing how you're
gonna handle the face,

and the face was a mess.

- You know, it's another one
of his misses.

Big concept, but a miss.

- And finally,
let's talk about Graham.

- The face idea was
a very good one,

but he didn't paint it
properly.

It's such a shame.

It could have been
an incredible makeup.

- If he did
a beautiful beauty makeup,

I think all of the other things
would have

not been so apparent.

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

- We have.
- Yes, we have.

- Let's bring them back out.

? ?

Welcome back, guys.

Glenn, who is the winner
of this challenge?

- The winner of tonight's
challenge is...

[suspenseful music]

? ?

McKenzie: The winner
of "Face Off: Battle Royale"

will receive a VIP trip

from Kryolan
Professional Make-Up

to one of their 85
international locations,

an all-new Fiat 500,

and $100,000.

.

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

- The winner of tonight's
challenge is...

[suspenseful music]

Walter.

[applause]

We absolutely love the concept,

and some of the unique
anatomical choices

that you made in that sculpture
were absolutely outstanding.

- It feels good to win.

I feel like I'm getting better,

and I'm putting out
my best stuff.

- Walter, congratulations.
You and Derek are safe,

and can head back
to the makeup room.

- Thank you.
- Thank you.

[upbeat music]

? ?

All right, guys, well,
obviously,

the three of you are
on the bottom this week,

and two of you
will be going home tonight.

Please step forward.

Glenn, who is the first person
going home tonight?

- The first person going home
tonight is...

[dramatic music]

? ?

Kevon.

We really did like
that armored shield idea,

but the character
as a whole read

a lot more grotesque
than it did beautiful.

- I had fun.
I was happy to come back.

- Kevon, you're
an awesome painter and sculptor,

and I'm sure
the makeup community

is gonna see a lot more of you
in the future, darling.

- That means a lot. Thank you.
- Kevon, it's been so great

having you back with us,

but if you'd please head
back to the makeup room

and pack up your kit.
- Thank you. Goodbye, guys.

- Later, buddy.
- See you.

I have no regrets.

I would not have
done this differently.

- Good luck, Kevon.

- I'm happy to go home
on a Kevon makeup.

I guess for me
it's go big and go home.

- So, Glenn, who is the second
person leaving us tonight?

- The second person
going home tonight is...

? ?

Graham.

Your concept wasn't bad,
but the shapes and the colors

that you chose
for the face in particular

just didn't add up for us.

- I agree.

- Graham, I'm so sorry,

but you have
also been eliminated.

That means Damien, you are safe

and can head back
to the makeup room.

- Bro.

- Graham, I hope you've enjoyed
being back

as much as we've enjoyed
having you back.

We've gotten to see
even better work

than you've done
in the previous season,

so it's still a success for you.

- It was a great ride,
and it was tough.

- Graham, it's been great
having you back with us again,

but if you'd please head
back to the makeup room

and pack up your kit.

- Bye, guys.
- Good luck.

- Bye, honey.
- See you.

- That's it for me.

Goodbye, Graham!

Timber!

It's completely fair,

because I'm not happy
with that makeup,

and I would want that person
to be eliminated too.

I came back
'cause I wanted to see

if I still had what it took
to hang in there

with some All-Stars.

I went through the wringer
a little bit,

and I definitely enjoyed myself
the whole way through.

- I didn't want to come in
as a cookie-cutter artist.

I wanted to stand out,
and I feel like I've done that.

I may not have made it
to the end,

but I made a very powerful
impression,

and I can leave
with my head held high.

McKenzie:
Next time on "Face Off"...

- It was a bad day
to choose me, Walter.

- Everybody else is going
in so many neat directions.

- I need to win this one.

- It's not holding up at all.

- It's just so perfect.

.

McKenzie: Previously on
"Face Off: Battle Royale,"

the artists dove
into the world of dryads.

Walter's beautiful nymph
wowed the judges for the win,

but Kevin and Graham fell short
and were sent home.

And tonight...

We are getting
very close to the finale,

and we need to see
what you are made of.

- I can see everybody
sweating a little bit.

- I like it, man.
- Thanks.

It's a bad day
to choose me, Walter.

- This area right here
concerns me. It's very weak.

- I'm probably gonna be
a bottom look.

- This is
"Face Off: Battle Royale."

[cheering]

[exciting music]

? ?

[electronic music]

? ?

- Whoa.
- Ooh.

- Check it out.
- Ooh.

- The lab looks awesome.

There's all this
nautical equipment,

and there's a huge
16th Century sailor's map.

Pirate ship action?
- I don't know.

- I'm just hoping it's not
gonna be a water challenge.

- Wow, this looks really cool.

- Yeah.

- Good morning, everyone.

- Morning.
all: Good morning.

- Congratulations on surviving
yet another double elimination.

Let's get right into your
next Spotlight Challenge.

During the golden age
of exploration, daring seafarers

sailed the high seas
in search of the New World.

However, many still believed
that if you sailed too close

to the world's edges,

dangerous sea monsters
would be waiting there...

- Yes.
- To devour you.

So, in the tradition
of Hollywood hits like

"20,000 Leagues Under the Sea"

and "Pirates of the Caribbean,"

your Spotlight Challenge
this week

is to create an original
sea monster inspired

by one of the illustrations
on this real 16th Century map.

- That's awesome.
- I love sea creatures.

There's just so many animals
in the ocean.

There's a lot of inspiration
to draw from.

- When I call you up, come grab
one of the trinkets

and place it next to the sea
monster of your choice.

Now there are two
of each trinket,

so whoever picks the other one

is your battle partner
for this week.

Derek, you're up first.

[upbeat music]

? ?

- It's time we meet in battle.

? ?

- So just to quickly
recap our battles,

they are Matt versus Walter,
Derek versus Mel...

- Arr.

- And Jordan versus Damien.

All right, here's the thing.

- Uh-oh.
- We are getting very close

to the finale,
and we need

to see
what you guys are made of.

So we're gonna put
your sea monsters

to the test in their natural
environment:

underwater.

- Oh, my God.
- That's awesome.

- Of course they're gonna
make it go underwater.

It's an All-Star season.

I could definitely see
everybody

sweating a little bit.

There's a lot
that could go wrong.

And that's what makes it
so scary.

- Your makeups will need
to be waterproof and the judges

will get to see them
on land and at sea.

All right, now before you get
started I should remind you

that the winner
of this challenge

will earn the help
of an industry expert

in next week's challenge.

Go ahead and get to work.
Good luck, guys.

- Thank you.
- Bye.

- Oh, man.

? ?

- The creature I chose has
an elongated snout,

so it looks like
a goblin shark or swordfish,

except a snout
that's closer to the mouth

and I don't want to give it
that mask look.

So I push it upwards, almost
eye level with the character.

That way it flows into a cowl,

and I'm going big
with the profile

hoping that will sell
a lot in the water.

None of these youngsters
have done this before.

I won this challenge, it was
episode two on season two,

so I'm thinking it's bad day
to choose me, Walter.

He wants it,
so I'm gonna bring it.

I'm gonna give him
what he wants.

- My monster looks like an otter
and a sea lion,

and I picked that
because I want to do tusks.

So it'll be very sea lion
in the face,

but fishy in the whole
back half with lots of fins

that look like they would
propel in the water.

I've never done
an underwater makeup before.

I'm gonna have
to seal each prosthetic

and make sure everything
is water tight

and use only alcohol paint

so it's not water soluble.

It's a little intimidating
going against

the reigning water
challenge champion,

but I'm pretty confident
in my design.

To be the best, you kind of
got to beat the best.

- When I think of sea monsters,
I think of terrifying creatures.

I don't know of anything
more terrifying

in the ocean then angler fish,

so that's the route
that I'm going for,

especially with the head
and face.

I really want to push out
that bottom jaw

and just have some really
gnarly long teeth.

And then the reference for my
sea monster looks very skeletal

so I want to incorporate
that and do a giant fin

running down
the back side of him.

I've never done
an underwater makeup before,

but to see the creature

that I make interact
with its environment,

that's gonna be really exciting.

[electronic music]

? ?

- I like my sea monster.
It's literally a sea horse.

Like...[neighing] horse and
I want to make sure

I incorporate some allusions

from sea horses
as we know them

that I think will look
really beautiful in the water.

I want to build up
the silhouette

of the back and the chest.

I also want to keep the face
more like a land horse

and have the mane be somewhat
between a fin

and a mane so that I'm serving

my inspiration
and my own ideas.

Derek's super talented
at creatures and monsters.

It's his aesthetic, but I feel
like my concept is cool.

Let's see if I can execute it.

? ?

- My sea creature is like
a catfish, koi dragon.

So I'm taking this
as inspiration,

but I also want
to incorporate the whiskers

of what a catfish has.

When she moves her head
back and forth,

I want it to kind of flow
with the direction

she's moving in the water.

As I'm sculpting, not trying
to do too much texturing.

Nothing too detailed
'cause I want her to be

a little bit smooth
like a fish as well.

I haven't battled Mel before
so it's gonna be a challenge

because she's gonna come up
with something

beautiful and interesting.

It feels like I've been coasting
it safe this whole time.

We're getting closer
to the finale

so I really need
to step it up for this one.

? ?

- My sea creature looks like
Creature from the Black Lagoon.

I start with the face.

I know that I'm gonna use
this under bite

and try to make a weird nose
that's not like a pig nose,

but maybe in profile
kind of resembles

the outlines of the pig nose.

I'm also going to make
the dragon frill that it has.

I want this frill to come around
the outside of the face

so that way
when it's in the water,

it'll get this cool
swooshing action.

I'm definitely trying to use
the water to my advantage.

I'm both excited and nervous
to battle Jordan.

He's a kick-ass artist
and I know

I'll have to create
something amazing.

? ?

- As I start sculpting I'm--
I'm looking

to bring that snout in

so I push it up higher,

and I'm elongating the chin

so it will read
beautifully in profile.

I'm trying to get the face
sculpted and molded today

so I can line it up
with the cowl tomorrow,

and create a dynamic profile

when viewed from the side.

? ?

- So to start off sculpting,
I go in and I start

getting that elongated shape
on the face, bringing the jaw

out a lot further
than his upper set of teeth.

I'm also adding larger,

more fish-like eyes
on the side of the head.

It's really gonna pull it away
from that human form.

Other than the body
being humanistic,

I really want the head to have
that creature feel to it,

and I'm battling
Damien this week.

He's gonna be a worthy
opponent for sure.

Damien's got
awesome design skills

and excellent painting skills,

so I'm gonna really need
to step it up

to beat him on this one.

? ?

- Hi, everybody.
- Hello.

- Hey, Mr. Westmore.

- What sea monster
did you select?

- So it's like
a literal sea horse.

- Okay, how about color?
What are you gonna do?

- Starting kind of black
and building up

metallics on top of it
because they really pop...

- Eh, don't start with black.
If you start lighter, you know,

and build up with your colors,

and use black as maybe an accent

as opposed to painting
your entire creature black.

- Yeah, that's smarter.

- Now what sea monster
did you select?

- He's, like, very aquatic and,
like, a sea lion, or a seal.

- Mm-hmm, you're really catching
the human in here.

Trying to get a little bit
more fish to it.

Maybe more between your cat

and a fish to really give it
a bizarre look.

- Mm-hmm.
- With your tusks now,

can epoxy 'em so they're
really, really strong.

- Absolutely.

- Now tell me about
your sea creature.

- I don't want to take
this too literally,

so I'm playing with the pig
under bite and the nose,

and then the dragon
fish fin flailing off.

- This area right here
concerns me.

It's a very weak look.

My main concern
is giving yourself

a little bit more character
right in there.

I think if you give this
a dragon bite

it could add
a real dangerous look.

- Yeah.
- Okay.

What sea monster did you select?

- I picked this guy,
he reminded me of a koi fish

that turns into a dragon.

- At first crack at this,
I'm seeing bat

as opposed to basically
what the challenge is.

- I'm really worried
'cause I definitely

don't want my face
to look like a bat.

- Everybody else is really going
in so many neat directions

that I don't want to see you be

the only one that
basically comes up with a bat.

- It's in the back of my mind

that I haven't won
any challenges,

so I need to win
this one to show

that I have what it takes
to be in the finale.

.

- At first crack at this,
I'm kind of seeing bat

as opposed to basically
what the challenge is.

- I don't want my face
to look like a bat.

Hopefully Mr. Westmore
can help me out.

- I don't think you're going
far enough.

- Okay.
- Change your profile.

Especially in this chin
and nose area here.

Don't be so delicate.

Bring some more elements
in there--

- Okay.
- To monster it up.

- After talking with
Mr. Westmore,

I'm definitely
gonna take his advice,

but it feels like
I'm a little bit behind,

so now I'm afraid
I might not have enough time.

- So think more
aquatic and monstrous.

- You have helped me out a lot,
thank you very much.

- Good luck.

Now what did you select?

- So, my creature
was this more

fin-looking kind of elongated
head-looking character.

- Very interesting sculpture.

- Thank you.
- I like it.

You've really captured
the idea of a sea monster.

Be careful with
supporting your mouth

when it comes up
out of the water...

- So it doesn't drag it down?
- Lower--yeah,

lower jaw doesn't drop.
- Mm.

- The thought off the top
of my head would be

to make
a little hole up through here

so it would drain water
through there

when it's coming in as opposed

to all this water
having to come here.

- Yeah.
- This little creepy guy.

His snout's kind of long
and kind of hooked a bit.

- Here you've gone out
of the box.

In this you've gone
out of the box.

The cheekbones
are basically skeleton.

- Mm-hmm.

- Maybe adding more
to the chin to balance

this type of figuration out,

or doing something here
to where

if it came up out of the ocean,
the sailors

would be scared of it
that it's a sea monster.

- Mm-hmm.
- So bring more...

creature into your sculpture.

- Mm-hmm.
- Bye, everybody.

- Bye, Mr. Westmore.
- Bye, Mr. Westmore.

[upbeat music]

? ?

- After talking with
Mr. Westmore, I take his advice

and make my face sculpt
less human.

I bring out the chin
a little bit

and change the eyes
so they're smaller.

- Ooh, that's cool, dude.
- Thanks.

I like it a lot better.

It looks a little bit
more creepy

and I like how the profile
is looking.

So now it's ready to mold.

? ?

- At this point
in the competition,

I'd be intimidated
about battling anyone,

but I need to bring
my A game against Derek.

So I start sculpting the face,

and I know
what I want it to look like.

It's just not really landing
in the clay that way,

but I can't refine it now

because I just barely
have enough time to run back

to the mold room
and clean out my chest mold.

But at least I have some forms

that I can sleep on
and look at the next day.

- With the time I have left,
I really want to start my cowl.

I'm building in fins that come
outwards along the back

and being very careful
as to where I put them

so that the cowl
is hydrodynamic--

it moves through the water,

and I'm really hoping
that the judges

can see all the little details

that I put into this to where it
looks functional in the water.

? ?

- All right, guys, it's time.

? ?

- [laughing]

Totally different
than I remembered.

I come into the lab with a fresh
set of eyes to look at my piece,

and I hate it, so I take it
all off and then start over.

I want to build up the nose
and make it a little longer

so that it looks like a horse
that looks kind of fishy.

I probably should've picked
a more intimidating fish

than a sea horse
because I feel a little nervous

that I've taken inspiration

from the cutest sea creature
in the whole ocean,

but it's looking a lot better,

and I'm already
behind schedule,

so I need to move faster
than I ever have.

? ?

- So the first thing for today
is I need

to finish up my back piece.

So I get all the forms
sculpted out

but don't put too much
texture in it

just because it doesn't
really need it.

It's just to create
that profile

for the torn up fins
on his back.

It's too early to tell
who's gonna take this battle.

Damien's is looking
pretty cool,

but I'm really liking
my sculpture,

and the closer and closer
I get to the finished product,

the more excited I get.

So hopefully I can walk away
with a win on this one.

? ?

- [grunts]

- I start off with my cowl.

I know I need to finish
that first

and get it molded so that way,

while it's cooking,
I can start working

on all these fin appliances.

The face feathers out,
so I'm gonna

pull that sea creature
frill out to the back,

use that in the anatomy
so it just looks

like all of this
hard cartilage stuff

is protecting this soft, giant,

soggy piece of flesh
in the back.

It's looking really good,
I'm really pleased with it.

? ?

- I want to show off the profile
of the character,

so I just start forming
that shark fin point

on the back of the head.

I'm also putting gills
on the neck

shells on the shoulder,

and some pointed,
protruding areas

on the back of the neck
to give it

a little bit of movement
when he's underwater.

I'm using the face
to line up with the cowl,

and it's all flowing together.

- I like it, man.
- Thanks.

? ?

- Now that my cowl is sculpted,

I really need to figure out
a way to do my fins.

So I stick quills into it

and then use the iridescent
cellophane to droop down

and that part's gonna move
through the water.

It's all looking really great
and I'm seeing what

Matt is doing,
and it looks cool,

but I love my concept
and I think

it'd be hard for Matt
to beat me.

? ?

- I want to do a fin on top
of the cowl,

and I really want it
to be transparent so

while the clothes are
in my cowl sculpture

I lay fish skin
for the membrane of the fin.

Fish skin is a material
that's stiff when it's not wet.

When I put it in the water,
it just turns to this soft,

kind of almost mushy texture.

I think it'll look cool
in the water,

but I think it's too soft,

so I'm layering it
with some latex

to give it some more strength.

After that, I use some yarn
for some veiny texture

and it's looking organic
and creepy,

so I'm really happy
with how it's turning out.

- Now that I have my cowl
completed,

I'm sculpting 12 fin appliances

that are gonna be flowing
and waving around in the water.

I have a lot of pieces
to apply,

and it's really important
to seal down all these edges

with a lot of Pros-Aide,
at least two layers

to make sure that no water
can creep in there,

and that will take
a lot of time.

Plus, I have a super
intricate paint job planned.

I'm definitely worried
a little bit,

but I am confident
I can beat Jordan.

? ?

- Oh!

Now that I have my face
and cowl done,

I want to make a mane

to bring it more towards
my sea horse inspiration.

So I lay hair on the floor

and paint latex over the ends.

The latex will actually
float in the water,

which will create
a really cool visual effect.

So hopefully this will give me

a little bit of an edge
over Derek, fingers crossed.

- 30 minutes, guys!

[electronic music]

? ?

- All right, guys, that's time!

I'm nervous for
application day.

Having the underwater
element thrown into it

just makes it that
much more stressful.

I'm gonna have to take twice
the amount of time

to apply my makeup
as I normally do

'cause if my pieces
come off underwater,

I'm guaranteed not to win.

.

[electronic music]

- It's application day, and
we've got four hours in the lab

and one hour in Last Looks.

I come in and check
my foam pieces--they're great.

The edges look awesome,

so this is gonna be
a pretty good application day

if I can get
these laid down nicely.

[upbeat music]

- Hello.
- What's up, man?

- It's good to see you, man.
- Yeah, dude.

- How's it going, brother?
- Man, we're gonna have

to get those down,

'cause if water gets in there--
- Yeah.

- Since my makeup is
going underwater,

the first thing I do

is completely
seal each prosthetic.

So I'm gonna have to do a lot
of prepping, so you can...

- Just chill?
- Chill and hang out.

I used Pros-Aide
and balloon latex,

and this mixture of these two

will actually keep the foam
from absorbing any water.

I haven't made anything
quite like this yet.

This prepping and sealing
is taking up a lot of time,

but at least we're all
pretty much on the same page

so we're all just gonna have
to pick it up

when it comes to painting.

- Here in a minute,
I'm gonna have to go

and start gluing the quills
in on all these,

like, fish spine things.

You'll have, like,
fins and all that.

So I start gluing
in all these quills

to the prosthetics
using five-minute epoxy.

It seems like it's
working really great.

The worst thing
that can happen in the tank

is my pieces all fall off.

Yesterday I didn't get all of
the material spray adhesive on

and connected to the quills.

Every minute that I spend
getting all these pieces sealed

and applied is taking away
from my paint job.

So I have to work as fast as I
possibly can and get painting.

- I have painted nothing.

We're about two hours in,

and everybody's
just barely starting to apply.

- Is this also sealing for,
like, waterproofing?

- This is the waterproofing.
- Okay.

- So, like, go ham.

I'm very behind,
so my wonderful model,

Christoff, is basically doing
all my sealing,

and I'm taking up
my latex hair fins

from the floor
and cutting them into shape.

All the while
my little worker bee

is taking care of business
at the fort.

Just let that go and you can put
one on the cowl, thank you.

- There we go.

- That's showing
a little bit there.

I'm gluing down the chest piece
and it's just not working right.

There's a big, gaping hole.

I don't think
it's letting it stick.

I don't know why
it's not gluing down.

I've really got to glue every
inch of the prosthetic down

'cause I don't want any water
to get underneath

and into the foam.

This chest piece has to work.

I don't have anything else as
far as wardrobe to put on her.

It's very frustrating.

I need to figure it out fast,
so I use these extra pieces

that I have to cover that
and use it as a blender.

It ends up working well,
so I'm glad

I made these extra pieces.

Yeah, that's a lot better.

? ?

- Just got to get this
base coat laid down

so I can start airbrushing.

That's when it's really
gonna start coming together.

So for this character,
I want him to resemble

a lot of those
deep sea creatures

that don't see
a whole lot of light,

so they're all very pale,

some of them
are very translucent.

Yeah, I've got a lot of,
like, black, like,

darker designs and stuff
that I'm gonna throw into it.

I'm doing
different circle patterns

from the back of the creature
and moving it forward

just to really have that
underlying vein structure to it.

It's looking sweet.

It makes him
look strong and scary.

I feel like it's really
gonna read well underwater

as well as on land.

? ?

- I'm gonna do these spots,

and then
we're gonna get ready.

For the patterning that I want
to do on my sea lion,

I'm starting with blue spots
all over

and fading them into
a lighter color in the middle.

It just gives a really cool,
layered effect.

Lean forward again. Yep, yep.

So far this is looking like
one of my better paint jobs

and I'm really proud of it.

Oh, my hand is hurting.

? ?

- Looking over across the lab,
I notice Walter's

got a lot of paint going on
and I'm thinking,

"I can beat that."

And I just start airbrushing
like crazy all over.

I'm integrating
a lot of iridescent colors,

a lot of blues to make it
really aquatic.

Just trying to bring out
all that color and beauty

without having to rely
on fabrics and flowing things.

I think it's gonna give me
the advantage

I need to get over on Walter.

This is the first coat.
- [laughing]

- Got to go on
some more colors.

? ?

- This is the fastest
four hours ever.

I got to bust ass here.

My biggest challenge today
is this huge,

vast body paint
that I have planned.

There's gonna be a lot of
little details

and a lot of patterning.

I'm starting to get a little bit
worried that I won't be able

to finish it and put my full
vision out there,

so I really have to paint faster
than I ever have before.

? ?

- Gold picks up on black
really well.

- Yeah.

- So I want to have, like,

the black going
a little further.

I want my sea horse
to be colorful,

sort of like a tropical fish.

Like, right now you're just,
like, a straight bee.

- [buzzing]

- And as I'm putting
my yellow over my black,

Mr. Westmore's words
are ringing in my ears,

and I realize, "[bleep],

"I've painted this
in the opposite order

that I was supposed to."

When I put the yellow over

the black it looks
like a green kind of.

I just, like, wasn't thinking.

Now it's turning sort of green,

and I don't know
if it's gonna catch the gold

because you need the black
for the gold

to pick up on top of it.

So I'm in a tough spot
right now.

All right, I think I really have
to pack this up now.

- We got 15 minutes, guys.

[electronic music]

? ?

- That's time!

- I still got a lot to do.

- All right.

Derek's looks really beautiful,

which is not great for me

considering
he's my battle partner.

There's only a super slim
chance of me winning this.

I'm just hoping to fix
some of this paint

so I don't embarrass
myself too much.

.

[dramatic music]

- Heading into Last Looks
I step back

and think about my paint job.

I know how to fix this.

I have a plan.

I have to put stark black
over it to make it gold again.

It's not gonna make this
a top look,

but it is gonna stop this
from being

the most embarrassing makeup.

? ?

- I still have at least two
hours' worth of painting to do

and only an hour to do it in,

so I have to skip over key
components of this paint job

just to make it
look somewhat completed,

and I have no choice but
to make do with what I have.

Ah!

? ?

- Gonna glue down
around your mouth.

I've got to get the teeth in,
so I grab a little bit of glue,

put it on the backs
of my teeth,

then start popping them
in individually.

They seem to be
holding up pretty well,

but it's hard to tell how
they're gonna go in the water,

so this is nerve-wracking.

- Spin.
This is one of

the coolest
paint jobs I've ever done,

and I really want it
to stand out even more,

so I paint gloss
all over my entire makeup,

and it's looking pretty good.

I think it'd be hard
for Matt to beat me.

Spin this way.

? ?

- My makeup needs to
withstand that water

and not cloud up the tank,

so I cover him head to toe
with Kryolan setting spray,

and there's no way this paint's
coming off on me.

Ha ha ha!
- [laughing]

- 10 minutes, guys!

? ?

- Time!

- Yeah, that looks cool.

- Like three colors
of paint shy.

I'm most disappointed that
I didn't get enough time

to finish this paint job.
It looks sick, dude.

- Thanks, man.
- Jordan's is looking amazing

and I'm pretty sure he's already
got this in the bag.

[laughter]

[dramatic music]

? ?

- Good evening, everyone.

Welcome to the "Face Off"
reveal stage.

Please say hello to our
phenomenal series judges.

Owner of Alchemy
Studios, Glenn Hetrick.

- Good evening.
- Good evening, Glenn.

- Oscar and Emmy Award-winning
makeup artist Ve Neill.

- Hello again, everyone.
- Hey, Ve.

- And of course creature and
concept designer Neville Page.

- Hello.
all: Hey, Neville.

- All right, let's get to it.

For your Spotlight Challenge,

we asked you to each select

a unique illustration found

on a 16th Century map

and use it to inspire
an original sea monster.

And in an added twist,
we told you

that your makeups would
also need to be waterproof.

Let's take a look
at your creations

before they take a plunge
in our water tank.

Mel and Derek,
you're our first battle.

[dramatic music]

? ?

- It's pretty brutal
seeing him out there.

We were supposed to make
a sea monster

and my creature
could be a Beanie Baby.

? ?

- It looks cool on stage.

Hopefully it flows
really well in the water

and it just makes it
that much cooler.

? ?

- Man, I'm so
proud of this one.

I love that paint job.

I really feel like I knocked
this one out of the park.

? ?

- My sea monster is amazing.
It's exactly what I envisioned.

If I can win this,
I can make a statement

that "I beat you.
I beat you."

? ?

- He's really selling
this character a lot.

It's looking exactly
how I wanted it to,

and I'm super
pumped about it.

I'm really thinking that
this could be my chance

to win a challenge.

? ?

- My sea creature's definitely
not contrasted enough.

The paint's only a third
of the way done

and had I had time to finish it,

I would've been much more happy
with this makeup.

? ?

- All right guys, it's time
to put your makeups to the test

by submerging them
in our water tank.

Judges, go ahead
and take a closer look.

? ?

- The fin moves
really beautifully.

It just kind of floats
back and forth.

- Those shoulder fins are
a really beautiful detail,

too, especially
how the light's hitting them.

- The color saturation
is perfect on this one.

- Mm-hmm.

- So beautiful.
- It's fantastic.

I like the way
the chest moves.

- The paint work's
even better underwater.

The tiny little details

that he managed
in the black pop so much better.

- This is really a risky one
to do, a giant nose like that.

- Mm-hmm,
it can get goofy so easy,

but instead this
is really scary.

- Wow this looks so cool.

- Yeah, the color palate looks
so good underwater.

- It does.
He's done so much rendering

and sculpting
just with an airbrush.

- Really, really
smart decision making.

- The profile of this thing
is so fantastic.

- He's really scary looking.

- I like the fact that
that pink ring

around the face
is now desaturated.

It seems to help it.

- But still, the way the colors
work against the sculpture

is just as bad
in the water as it is out.

- Oh, wow, his fin's
coming off now.

And so is all the paint.
- It's not holding up at all.

- It's falling apart.

One by one his quills
and fins start breaking free.

- He's losing a lot of his stuff
underwater

and this is what this challenge
is all about.

- This isn't good.

I'm probably
gonna be a bottom look.

- All right, guys, it's time
to get on Twitter and tell us

who you think won
tonight's battles using

#FaceOff.

.

- Oh, the whole thing came off.

- He's losing a lot of
his stuff underwater.

It's just sort of falling off.

- It's definitely a bummer that
I'm losing some pieces

in the water, and had I had
time to finish it,

I would've been much more happy
with this makeup.

- It's a shame, the face shapes
are actually quite beautiful.

- The face shapes are
pretty attractive,

but it's the texturing
and the paintwork,

and the details on the face
that I don't care for.

- The breastbone and chest looks
exquisite underwater,

and I love the way her tendrils
are just floating.

- I kind of like the dynamic
of that head dorsal fin too.

- Love that fin.

- I like this
a lot better underwater.

- The face,
it's gotten worse for me.

- It has, because it ups
the contrast.

The water's actually
making it worse.

- Yeah, the most effective part
is the mane.

- Mm-mm.

- Bye, bye.

- All right, the judges
have chosen the winners

and losers of each battle.

Let's find out
who came out on top.

In battle number one,
Mel versus Derek,

the winner is Derek.

- [unintelligible]
- Thanks.

- In battle number two,
Walter vs. Matt,

the winner is...

Matt.

[applause]

And finally, in battle
number three,

Jordan versus Damien,
the winner is...

Jordan.

[applause]

Congratulations to all
of the victors.

Now the judges would like
to speak with some of you

to find out more about
your work.

Matt, you're up first.

[dramatic music]

- Hey, Matt.
- Hi, Glenn.

- Tell us about
your sea monster.

- Well, I had this
really odd-looking character.

It had a very prolonged snout,
so I wanted to go

with some Kaiju influence,

Godzilla textures
and bone protrusions.

- It is absolutely phenomenal.

That head shape
is just gorgeous.

What I really have to applaud
is your ability to balance

that shape, which so easily
gets goofy,

with all the shapes
in the forehead

and the back of the neck.

This is probably
my favorite shark head thing

I've ever seen, period.

- Thank you so much.
- My favorite part on

this makeup was this chest.

When he was moving in the water,
that chest plate moved in

and out like it was breathing.

It was really cool looking.

Nice job this week, honey.

- Thank you.

- The side view
is just so perfect.

You're done a magnificent job,

and all the way to the point
of the shoulder details.

It's shell-like, it's fin-like,
really sublime.

- Thank you.
- Matt, thank you so much.

If you'd please head back.

? ?

- Good job, man.

- Mel, please step up.

? ?

- Hi, Mel.
- Hello.

- Please tell us
about your sea monster.

- So I got literal sea horse.

I was thinking
more like the fish,

but I wanted to keep
the more animal mouth

and the fish structure
and profile.

- This is just so bizarre to me.

It's almost Day-Glo.

I don't think I've ever seen
a fish, or a sea horse,

or anything aquatic resemble
this character,

and it just throws me
for a loop.

This was not a success
for me this week, dear.

- The union of the body
in this character

is where it starts
to fall apart for me.

The way you treated
the sculpture

didn't feel terrestrial,
it didn't feel mythological.

It starts to feel very alien,

and it takes you way
out of the challenge.

- If you're going to just
go full-blown sea horse

then you should've really
embraced the trumpet style nose,

and it's all
very much exacerbated

by some disastrous
paint decisions.

When you work
with really dark colors

you have to be very, very,

very specific
to pop those shapes.

- Mel, thank you so much,
please head back.

- Thank you.

? ?

- Jordan, you're up.

? ?

- Jordan, tell us
about your sea monster.

- The sea monster that I had, it
had a very elongated head shape.

When I think about sea creatures

or sea monsters
I think of angler fish,

so I wanted
to go in a route like that.

- Well, you achieved
that very thing.

It is so well-crafted
and so well-conceived.

It gives us this cornucopia
of forms and shapes,

and things to look at that
are very controlled,

and very purposeful.

And as a consequence, very,
very believable.

- Thank you.

- This is an absolutely
killer embellishment

of that wood cut style.

You were able to create that
nostril area of the creature

so perfectly to give him
that killer profile,

and the makeup worked
well underwater.

I think you really,
really killed this challenge.

- Thank you very much.

- Your monster was
absolutely gorgeous.

When he turned sideways,

and when he was
swimming around in there

with that fin and everything

it just gave me
the goose bumps.

This thing could just walk
right onto a movie set.

- Thank you.
- Awesome.

- Thank you.
- Jordan, thank you so much.

You can head back.

- Thank you, guys.

- Good job, Jordan.
- Thanks, guys.

Thank you.

- Damien, please come forward.

? ?

- Hey, Damien.
- Hey.

- Tell us about
your sea monster.

- The sea monster that I had,

had a really elongated snout,
so rather

than bringing
that snout out I wanted

to just bring it more angular,
and it also had

a lot of dragon frill coming
out from behind it,

so I went literal with that.

Kind of got away from me
a little bit this week.

- I'd have to agree with you.

The paint job fights the
sculpture, it doesn't help it.

It's being battled by the way
you applied the color.

Then on top of all that,

a lot of your components
failed, they fell off.

The fin around the face
was doubling over on itself

and folding over his eyes.

So you had a lot of problems
in the water this week.

- Mm-hmm.
- What I can't figure out is

why you thought that starting
with a turquoise blue color

was gonna be a good idea
for a sea monster.

It's just so stark
against black lightning stripes

on this guy's body.

And the peach around the face
really threw me for a loop.

- This paint job sucks.
- This paint job sucks.

There, you said it.

That for me is the most
problematic part

of this makeup is the paint job.

- I completely agree.

- The pink tissue

that's around the face
feels anonymous and unresolved.

If you chose to make
that something specific

such as a gill,

you would've then been able
to figure out

what it does and resolve it
in such a way

that it isn't this
confusing thing.

It's just not done.

- Yeah.

- Damien, thank you,
you can head back.

- Thanks, guys.

- All right, please head back
to the makeup room

while the judges deliberate.

- Thank you.

- All right, judges, we saw some
incredible work here tonight,

so why don't we start with
the looks you liked the most.

Let's begin with Matt.

- That was really one of
the finest sculptures

and designs I've seen.

Around the eyes,
and that profile

at the front in particular,
it was absolutely spectacular.

- He allowed that pointed nose
to drive

what he was going to do,
and that was incredibly risky,

but man, it is fantastic
when you see it in the water.

- I thought the paint
work was really great,

and I did like the way
the stenciled

airbrushing read in the water.

It read great out
of the water as well.

- All right, let's talk
about Jordan's work.

- Oh, I love this makeup.

That thing could've stepped
right onto a horror movie.

The black and white
was just perfect,

and in the tank
it was spectacular.

- The shapes were phenomenal
and I think

it was particularly well-suited
for his skill set,

even though it
is a mask technique,

this is where you use that,

where you create a nasal region
on your creature

that allows the person
to see as well as they can,

and the mouth was nice
and wide open,

the performer
could blow bubbles very easily.

- It was the best match
to the mythos provided.

- Yeah.
- All right, let's move on

to the makeups that weren't
as successful this week.

Let's start with Mel.
- Oh, poor Mel.

That choice to go so black
and so dark

with it got away from her.

- There's no boundaries between
the light and dark shades.

There's no transitions.
It's a real mess.

- If you were to just put that
out in front of anyone and say,

"What do you think
this challenge is about?"

You'd never guess,
and that's a huge problem.

- And finally, let's talk
about Damien.

- There really wasn't much

of his chosen image
in the makeup.

It felt confused.

- It's the same blue paint job
as two other people,

and not done as well.

- The placement of the membranes
on the arms and the legs,

they're just pasted on,

and subsequently fell off
in the water.

Color aside, shape aside,

that's a huge problem
in this challenge.

- All right, judges,
have you made your decision?

- Yes.
- We have.

- Let's bring them back out.

[dramatic music]

? ?

Glenn, who is the winner
of tonight's challenge?

- The winner of tonight's
challenge is...

? ?

McKenzie: The winner of
"Face Off: Battle Royale"

will receive a VIP trip

from Kryolan Professional
Makeup

to one of their 85
international locations,

an all-new Fiat 500,

and $100,000.

.

- Glenn, who is the winner
of tonight's challenge?

- The winner of tonight's
challenge is...

? ?

Jordan.

[applause]

Leveraging the angler
fish anatomy did

so much to enhance both
your model's body

as well as your
sculptural decisions.

Absolutely killer makeup.

- Thank you.
I finally got my challenge win

and it couldn't have been
with a cooler character.

I was just super happy
to work on this challenge

and to walk away
with a win is awesome.

- Jordan, congratulations,
you have won the help

of an industry expert
in next week's challenge.

All right everyone,
why don't you all go home

and get some rest before
your next battle, goodnight.

- Goodnight, thank you.
all: Thank you.

- I'm feeling
disappointed in myself.

I know that I'm capable
of doing better work than this.

I have to step it up.
I don't want to get this close

to the finale
and fall by the wayside

and have that regret.

McKenzie:
Next time on "Face Off"...

Welcome to the semi-finals.
- Oh!

- This is do or die, this is it.

- It's not cured enough
to open and clean out.

It's gonna be tough
to get into that finale.

- I feel like I'm not in here
with you,

you're in here with me.

.

McKenzie: Previously
on "Face Off: Battle Royale"

the artists battled
head to head--

- It's on.

McKenzie: To create horrific
fairy tale characters.

- Whoo!
This is such high stress.

- It could be anybody's game.

McKenzie: Kelly's makeup wowed
the judges for the overall win,

but the defeated artists
are in danger of going home

in tonight's
elimination challenge.

Remember when you were afraid
of monsters under the bed?

- I can't afford
to be the battle loser.

- I literally have nothing.

- This is "Face Off:
Battle Royale."

all: Whoo!

[exciting music]

? ?

? ?

- Ooh, wow.

- What?
- Ew.

- This room is pink.

There are fluffy
toys everywhere.

Looks like a little girl
might live in this room.

It's a little bit terrifying.

- [bleep].
- Good morning, everybody.

Do you remember
when you were a kid

and you were afraid
of monsters under the bed?

- Yes.
- Well, films like

"Little Monsters"
and "Monsters, Inc."

have taken the idea
of scary monsters under the bed

and completely turned it
on its head,

featuring whimsical monsters
with day jobs

in a world a lot like our own,

so for this week's
Spotlight Challenge each of you

will chose an everyday
occupation and create the fun,

lighthearted monster
who carries out

that job in the monster world.

- I like that.
- That's cool.

- Monsters.
Okay, I can do that.

- Now, in the spirit
of the challenge,

there are various objects
under the bed

that represent your day jobs.

- Oh, my God.
- Oh, man.

- Now, there are two of each,
so when you choose one,

don't forget you're also
choosing your battle partner.

So we have a coffee pot that
represents a diner waitress,

a fireman's hat
for a firefighter,

a hair dryer for a hairdresser,

a badge for a police officer,

a gavel for a judge,

and some dental models
representing a dentist.

- Okay.
- Now, when I call your names

come on over and choose an item
from under the bed.

Jordan, you're first.

? ?

[laughter]

[clacks dentures]

? ?

- Ooh.

- [hisses]

- I got it.

- There's so much
to choose from.

- Decaf?
- Cheers.

- Now, before you get started,
there's just one more thing.

- Of course there is.
- Of course.

- A good monster still needs
to be able to scare on command,

so you must incorporate

a physical gag
into your makeup

that transforms your monster

from lighthearted
to terrifying.

- Oh.
- Ah.

Gags are tough.

They require prototypes
and troubleshooting.

It's just gonna take
a lot of time,

and that's what's concerning me.

- All right, now, we do have one
last order of business.

Kelly, you won
the last challenge

and received the help
of an expert today.

Well, your expert is perfect
for this challenge.

His first professional job

was with the makeup department
on the TV show "Munsters."

Since then he's made monsters
for films like "Goosebumps,"

"Zombieland,"
and "Star Trek: Into Darkness,"

and along the way
he's won two Emmy awards.

Please welcome Jamie Kelman.

[applause]

- I'm super excited
to work with Jamie.

It's like having a coach again,

except this guy gets to get
his hands dirty with me,

so this is gonna be sweet.

- Hey. Thank you so much
for being here.

- Thank you.
Thank you.

I'm very happy to be here,
make some monsters.

- Yeah. All right,
let's get to it.

You want to go join Kelly,
then, please?

- All right. Nice to meet you.
- So good to meet you.

- All right, guys,
it's time to get started,

and as a reminder,

this is a double
elimination challenge,

so make sure that you
pull out all the stops.

Good luck, guys.

? ?

- I'm super excited
to work with Jamie.

With this cutthroat battle
against Kevon,

it's a great advantage,

and I got to use it right.

I'm thinking of going
with a kind of bat monster.

My concept is--

[low, scratchy voice]
Her name is Mabel,

and she works night shift
at the cafe.

She'll tell you great stories,
but you cross her, and--

[babbles]

- Don't forget they want her to
go from whimsical to menacing.

- The biggest thing
that Jamie is pushing for me

is my monster
has to have character.

- Maybe she has a hairstyle
that this ties into

so that it's not
just, like, a beard.

- The gag is that
she pulls down her beard,

and it reveals this nasty,

lumpy lips underneath and,

like, a big, old tongue.

Gosh, I'm so pumped up.

- Two heads are better than one.
- You know?

? ?

- How's your idea looking?
Do you have [indistinct] style?

- Yeah.
- Yeah.

- This challenge I get
to go up against Damien.

We actually wanted to go
against each other

just for some
friendly competition.

This way we can
have fun with it.

My monster's a judge,

and since judges
wear these powder wigs,

I'm thinking it's made
out of brains,

and I want its eyes
to sort of bulge out.

Yeah, so I'm gonna try
to make it

so the eyes go--[rolls tongue]

It should be
pretty disturbing.

That big mouth, like--
- [laughs]

- I got the firefighter.

The first thing I was thinking
about was a fire hydrant

and then went to metal,

and so I'm going to be
doing a man made of metal.

For the gag I'd really like
to do something

where the jaw drops
or comes off,

and that's going to be
a big mouth of some sort,

something to really
scare the kids.

How's it going?
- Getting there.

I'm still working
on the face design.

- Oh, yeah.

I'm really nervous
to battle Derek

because I feel like he's one
of the strongest artists

in this competition.

- My concept for my monster is
this big, blue, grumpy fireman,

and then my gag is gonna be
his chin's gonna open up,

and there's gonna be
all this gore

and teeth and fangs inside.

It needs to kind of be
from the bottom up

with the big, open mouth.

- Good luck, brother.
- Thanks, man, you too.

? ?

- My profession is hairdresser,
and I am battling Yvonne.

I know that she is
very good at makeup,

so I really need to do well,

but I just cannot come up
with anything at all.

I can't worry about the gag
until I have a good concept.

? ?

- I selected the cop
because I think

I can come up with something
that can be both fun

and lighthearted
and also terrifying,

so I want to do a rabbit cop.

The gag is a cute
bunny rabbit hops out,

and he takes his hat off,

and he's terrifying
underneath his cop uniform.

- My concept is a four-armed
waitress squid, and the gag

is a terrifying face revealed
on the back of her head.

I'm going up against
Kelly this round,

and she's making
tremendous progress

'cause, well, you got Kelly
sculpting something,

and then you got Jamie Kelman
sculpting something,

so I have no choice
but to move very fast.

? ?

- My concept
for my police officer

is that
he's a mall security guard.

He's a really big dude,

and I want to make this
a rhino-inspired makeup.

For my gag I'm thinking
of making these two flaps

that snap down and expose
something scary underneath.

- So for my dentist I just
want to make a giant, wacky,

pearly-white smile creature
with big,

floppy ears and a little,

pink hairdo that might have
possibly kidnapped

the real dentist
and taken his place.

For my gag I'd love to have
a rolled-up tongue

that flops out
and flops around

whenever he opens his mouth.

I'm really liking where
this sculpt is going.

? ?

- I just don't want
your overlap--

- Yeah, I was thinking that.

- And underlap to not
harmoniously tie together,

of course.

- It's really cool
to have Jamie in the lab.

I'm blocking out the face,

and he's making these bat ears

and blocking out these huge,
nasty lips,

and I'm really liking the way
that this is going.

I love her. I love her.
- Yeah, it's coming along.

- But unfortunately,
our time must end.

- Okay.
- Good luck.

- You have a--thank you.

- Good luck to all you
crazy kids making monsters.

- Thank you.
- Good luck.

- Thank you.

- My mind is blank right now,

and I can't draw anything.

- How's your concept coming?
- I have none.

If I can't come up
with a concept for my makeup,

then I can't even compete.

- So what were you
thinking originally?

- I've had so many ideas,
and they're all so bad.

I have nothing.

I'll figure it out.

I was just getting some ideas.

Two people are going home,

and if I can't come up
with a concept,

then I don't have a chance here.

.

- My mind is blank right now,

and I just cannot come up
with anything at all.

I have nothing.

I'm feeling like
I can't even compete.

- You have a face,
and you have clay,

and you have
a really good brain.

- I really have no choice.

I just have to pick something
and go with it.

- You're so talented, dude.

Don't psych yourself out.

You could always start
looking at reference books.

- Yeah, maybe.
- You got this.

Come on.
Just go for it.

- So I start looking
at some reference photos,

and the idea of a insect monster
sounds really cool to me.

She's gonna open up her head,

and there's gonna be
a mouth inside,

and I think that'll
be kind of creepy.

I have renewed energy,

and I'm ready
to start sculpting.

[electronic music]

? ?

- Hi, everybody.
- Hi.

- Hey.
- Hello.

- I have a cafe waitress.
- Uh-huh.

- What I want the gag to be
is I want her to turn around

and have this mouth

and these eyes open
on the back of the head.

So do you think
I should avoid pointed teeth

on this to keep it friendly?

- Yes, 'cause it'd really be
interesting

to have him actually start
this way and then turn around.

- Okay.
- What character did you select?

- The dentist,

so he has blue toothpaste
splattered all over him.

He's got teeth protruding,
and he's, like, gum pink.

- This, to me,
looks very human with this

stuck on the end of it.

If you raise the nose up a bit,

it'll become more
of a character.

- So I got the dentist.

For my gag there's gonna
be a silicone tongue

rolled up inside of it.

- Now, how's that
gonna be released?

- I'm either gonna use
a CO2 cartridge,

or it's going
to be blown through.

- Blowing it would probably
be better than the CO2.

- Yeah.

- Because with that
it's like oop, it doesn't work.

- Yeah.

- If he could control it,
it's gonna happen like that.

- Right.

- I am making a police officer.
- Okay.

Your mouth is just a nonspecific
human pair of lips,

so I think you need
to change this a little bit,

and all your lines here,

you want to drag it
all down with gravity.

- Okay.
- She is a hairdresser.

- Okay.
- The idea is that

I'm gonna sculpt
a mouthpiece separately,

and then I will be able
to lift up the cowl

and stick the mouth
inside underneath,

but I'm having a hard time
figuring out my shapes

because I want it
to be bug-like.

- If you want it
to be bug-like,

you're gonna need planes to it.
Square it off.

- 'Kay.
- And then square it off.

- Okay.

- So then it takes it away
from looking like-

- Sure, to--yeah.
- A floppy ear, yeah, yeah.

- Okay, I see
what you're saying.

- Yeah.

- So I got the fireman.
- Mm-hmm.

- It's kind of like
a robot creature,

and I'm gonna be doing
a drop jaw gag.

- Don't be afraid
to make this thick enough.

This is all pretty close
to the head.

- Okay.
- So if you need more thickness

to make your gag work,
thicken it up.

- That's a great idea.
- Bye, everybody. Good luck.

- Thank you.
- Bye.

- Bye.

? ?

- I'm very worried.

I'm making a rabbit,
not really a monster,

but it's lighthearted and fun
and also terrifying,

and I have the gag,
so I hope the judges agree

that I'm fitting the challenge.

The face is done,
so it's time to mold it.

I'm still uneasy
about my concept,

but hopefully it works out
and I can squeak by this one.

- One hour, everybody.

? ?

- That's time, everyone.

[all cheering]

- All right.

The first thing I need to do is
open up my mold, clean it out,

and get my latex pulled.

For his regular teeth, I don't
want them to be regular--

like goofy, nothing scary.
- Yeah.

- And then it's gonna split
right here.

- That's cool, man.

- Now I have to start
making my gag,

so I sculpt the inside
of the mouth

down the model's chin,

and the cowl is gonna
go over that.

It'll split open
into two pieces,

and it's gonna reveal
this terrifying monster.

I'm really liking
how it's coming out.

- Man, so cool.
- Thanks, man.

- It's time to start
working on my gag.

So my initial idea was to have
this rolled-up, hollow, silicone

tongue that can fit
inside the mouth,

and the actor can just blow it
out like a party whistle,

so I grab a board
and a wooden dowel

and start sculpting my tongue.

I want it to be real warty
and nasty-looking,

just to have the inside
of the mouth be really realistic

and disgusting-looking

while the outside's cartoony
and lighthearted.

I'm nervous about
making the gag work

just because I've got to do
a lot of pre-painting

before I can even apply it
to the model,

so I've only got one shot,

and if it doesn't
turn out right,

it could mean the difference
between a win and a lose.

- For my firefighter
I vacuform over the jaw piece.

I want it to be
completely hollow

so that the actor can remove it,

and everything is underneath
for the scare,

so I try a pull method,

which is one large tube
with a smaller tube inside,

and then you can just slide
the jaw through up and down,

but unfortunately,

I'm having a really hard time
getting it to work.

I can't push these tubes
to the face

and get a nice, clean slide,

so I have to scrap that idea.

The gag is a big part
of this challenge,

and right now I don't even know

if my jaw piece
is gonna work out.

The metal up against the face,

since I can't build, like,
a whole frame--

- Yeah, that's true.

- I don't have
the time for that.

I've tested it a ton,
but nothing's worked out,

and I'm really, really nervous.

It's two in a row
if I'm bottom this time.

I could go home.

Eh.

.

- The metal up against the face,
since I can't build, like,

a whole frame--
- Yeah, that's true.

- I don't have
the time for that.

For my gag I tried a pull method

so that I could
pull this jaw down,

but unfortunately,
I have to scrap that idea,

so I'm gonna do
a magnet reveal,

so there will be two magnets,

and I'll be able
just to pull this jaw off,

and there will be
these gnarly teeth underneath,

so I'm hoping
that my vacuform jaw

is lightweight enough so that
I won't have any problems.

? ?

- I got to start making
my big, bulging eyes.

The gag is that bladders
are pushing these eyeballs

out of the prosthetic
giving my character bug eyes.

The process of making a bladder

is stippling layers of latex
over and over,

creating a tiny cavity,
and then connecting a tube.

Look.

- Aw, dude, it's awesome.

- 30 minutes, everyone.

- Time is running out,

and I need
to run four squid-like hands

as fast as I can in slip latex
and poly foam.

To stay on track,
all that has to be done today.

- All right, guys, that's time.
- Oh, no.

Kelly won the last challenge

and had professional help
this round.

I can't afford to be
the battle loser this time,

so last thing I want,
day three, is more lab work.

I need to apply.
I need to paint,

and I need to finish the gag,

so tomorrow is going to be
a very high-stress day.

? ?

- Whoo!
- Gremlin hands.

- The edges are dope.
- That's pretty.

- Jordan, nice to meet you.
- What's up, man?

- You're a hairdresser monster.
- Oh, my God.

- I've got a lot to do,
so my plan

is to apply my cowl
and my face.

You want to push that guy
into place?

Glue the ears to the hat

and then start applying hair
to his chin.

I hope I can get it
all done in time.

- I'm just gonna cut this,
so get it ready.

I'm feeling extremely nervous.

The foam isn't great.

There's some areas
that collapsed.

My seaming
is pretty bad as well.

I haven't even started
to apply yet,

but I'm just going as fast
as I can, trying to save this.

- Yeah, I'm gonna put
little magnets right here.

It'll be easy for you
to just kind of

pull it and then click it
back if you need to.

To keep this mouth
closed for my gag,

I decide to use some magnets.

No, let's try something else.
But they're not sticking.

They're not working the way
I thought they would.

Yeah, this is gonna work.

I'm behind, but this is

a important piece
of my whole design,

so I have to make sure
it works.

- For colors I am using
the palette of a dentist,

the whites and the pinks.

Let me just get your left side.

I start with a base coat
of PAX paint,

and then I go in
with a lighter pink

for all the highlights
and the darker purples

and darker reds.

- You just brushed the dry blood
in there?

- Yeah.

- That looks cool, man.
- Everything's going great.

He's very cartoony
and vibrant-looking,

but I'm battling Jordan,

and his monster's
looking really awesome,

so I've got to bring my A-game.

- The idea is that with magnets
you're gonna be able to just go,

and it will show that part.

I've never really done
a gag like this,

and the magnets are tough

because the hot glue gun

has a metal tip
that sticks to the magnets,

so I'm having to pipe
the hot glue

onto a popsicle stick

and then put it on the magnet,

so it's a little bit
of troubleshooting,

but it's coming together.

I keep thinking about
the 8 million ways

I could have done this easier.

- You have all these jagged
teeth that I'm placing in.

I'm having a really hard time

getting the teeth
to stick down right here.

I don't think
I can make it work,

so it really throws off
this idea

that I have a mouthful of metal
underneath this jaw piece.

Let's see if this works.

It's not what I wanted,
but I have to stick with it.

- Pull it straight up.
I get the mechanical skull

for the second face
into the back of this cowl,

but time is almost up,
and I realize

that I have spent damn near

all of my application
time working on this gag.

Oh, God, what else.

Somehow I get all her arms
attached, her hands attached,

and a pink base layer,
but I need to do a lot

to make this aesthetically
to the level it needs to be at.

- We got 15 minutes, guys.

? ?

- That's time, guys.

Holy [bleep].

- Time's up, and I'm still
pre-painting it,

so I don't have anything
applied to my model.

In addition, I haven't
really had a chance

to work out my gag yet.

It's nerve-racking just
because I need everything

to go according to plan
in Last Looks

if I want any chance

of winning my battle
against Matt.

[all chattering]

- I'm freaking out a bit.

I got to paint the mouth,
get this hair on there,

and finish the face paint job.

This character has got
to stand out.

- I've got a lot to do
in this one hour.

I need to apply
my entire makeup

plus work out my gag.

But the tongue doesn't quite fit
the way that I anticipated,

so I'm gonna need
to hang it out the side.

I'm just hoping
that the silliness

of the tongue flopping around

will be enough
to please the judges.

- It feels like the hour's
going by in five minutes,

and I'm trying to get her
other hand on,

get her wardrobe on,
get her eyes in.

I'm still trying to figure out
this paint job.

It's all just a blur.

- I'm painting him red
to really show the inspiration

from the fire truck,
but it's drowning out

all that metal
that I painted underneath,

so it's not reading as well
as I'd like it to.

- 15 minutes.

? ?

- That's time, guys.

- [laughs]

- It's still a full creature.

At least you didn't do a robot
for a monster challenge.

This isn't what I've envisioned.

This isn't how I saw it.

I don't feel like it meets
the challenge.

I can feel the judges
yelling at me already.

.

[suspenseful music]

? ?

- Good evening, everyone.

Welcome to the "Face Off"
Reveal Stage.

Tonight, two of you
will be eliminated.

Now, before we get to business,
please say hello

to our amazing series judges,

owner of Alchemy Studios,
Mr. Glenn Hetrick.

- Good evening.
- Good evening.

- Hi, Glenn.
- Oscar and Emmy Award-winning

makeup artist Ms. Ve Neill.

- Hi, everybody.
- Hey.

- Hey.
- And of course,

creature and concept
designer Mr. Neville Page.

- Hello, everyone.
- Hello, Neville.

- All right, let's get to it.

For your Spotlight Challenge

we asked you to choose
an everyday occupation

and use it to inspire a fun,

lighthearted monster
that carries out

that job in the monster world,

and in an added twist we asked

that you also incorporate
a physical gag

that would transform
your friendly monster

into a terrifying figure,

so let's take a look
at your monstrous creations.

Jordan and Matt,
you are our first battle.

? ?

- Even though my gag
doesn't really work,

I'm loving the way
that it looks.

The big, nasty teeth
are a great focal point.

It just really brings
the character together.

? ?

- The colors are great.
The gag is there.

Blood just spurts
like a root canal,

so I believe I've got a really
great chance to win this.

? ?

- The whole package
could be a lot better.

I Just wish it was bigger,
louder, more climactic.

? ?

- It's fun, but I'm looking
at my paint job on the face,

and it's not my best work.

? ?

- I'm concerned the judges

are going to think
it's painted too dark,

so I'm pretty nervous
at this point.

- He opens up his mouth,

and all that slime
and goo just looked perfect.

Hopefully the judges
get that effect and like it.

? ?

- He's got this long,
gross strand of slime.

I'm really happy.
The gag works fantastic.

- I want to beat Damien, but
he got a lot more time to paint

than I did,

so hopefully they dig my gag
and the character.

? ?

- I'm feeling really good
about my makeup,

and no dreads fell off,
so that's a huge bonus.

- My model goes to
pull her mohawk up,

and it just looks like
a black hole.

This makes me nervous.

? ?

- It looks really cool,
really fun,

and then he pulls that hat off,

and he looks so scary
and terrifying,

and it looks great.

- I think the gag worked out
better than I anticipated,

but I don't know
if it's enough to win my battle.

- Okay, judges, go ahead
and take

a closer look
at these magnificent monsters.

? ?

- Nice and shiny.
- So much better that way.

- Really contrasting colors

which made it feel
appropriately childlike.

Lift your cap off for us.

- Oh.
- Now we're talking.

- It's a beautiful pink
paint job.

I got to give him that.

This part is pretty fun
and silly.

- I think that the paint job
could have been

a little bit more defining

in terms of the two
different characters.

- I don't understand the choice

for the structure
of the sculpture.

- It's really simplistic.

- This feels confused.

- Hold that thing open.

- I think it's one of
the more successful reveals.

- Yeah, I like this one.

- It lines up really nicely.
- It does.

- Can we see it
without the face on?

- I love the reveal, but I don't
like the green paint.

It's muddy and gray.

- Can you reveal your dark side?

- It does go
from bad to worse,

I'll give it that.

- Thank you.

- Okay, the judges have chosen
the winners

and losers of each battle.

Let's find out
who came out on top.

In battle number one,
Jordan versus Matt,

the winner is...

? ?

All right, guys, it's time
to get on Twitter

and tell us who made your
favorite whimsical monster

using #faceoff.

.

- Okay, the judges
have chosen the winners

and losers of each battle.

Let's find out
who came out on top.

In battle number one,
Jordan versus Matt,

the winner is Jordan.

- Yeah.

- In battle number two,

Kevon versus Kelly,
the winner is Kevon.

- Ooh.

- In battle number three,

Jo versus Derek,
the winner is...

Derek.

- Thanks.

- In battle number four,

Damien versus Graham,
the winner is Damien.

- Yeah.
- Congrats.

- In battle number five,
Yvonne versus Sasha,

the winner is Yvonne.

[applause]

And finally,
in battle number six,

Walter versus Mel,

the winner is Walter.

[applause]

Congratulations
to all of our victors.

Now the judges
would like to speak

with some of you
before making their decisions.

Walter, please step forward.

- Hello, Walter.
- How's it going, guys?

- Tell us about your approach
to this challenge.

- Well, I wanted the rabbit cute
and fuzzy,

and I wanted the reveal
to be he takes his hat off,

and it's a very monster-y
feel from the nose up.

- It is exactly
what we were looking for.

Some of the paint's
absolutely gorgeous

in that profile along the side

where it transitions
from the weird,

red-purplies into the white.
Great stuff.

- Thank you very much.

- I think your reveal
was just stunning.

When he takes the hat off,
you see those furrowed,

dark brows, fantastic.

- Thank you very much.
- That grin that he has,

there's just a little bit
of menace going on already,

and the choice of doing
a small nose also lends

to his cute factor

and makes the reveal
that much more horrific.

- Walter, please step back.
- Thank you so much, Brian.

- Jo, please come forward.

? ?

- Hello.

- Would you tell us the concept
behind your child's monster?

- When I got the firefighter,

I started thinking
about elements

that could actually fight fire

and then thought fire truck.

- For me it doesn't
work this week.

- Okay.
- Can he take his thing off?

It's really difficult

to tell what that
is supposed to be inside.

It doesn't look scary
or menacing.

- With the jaw off
it almost looks simian versus

looking like a large mouth
with metallic teeth.

- It desperately needs little
dings of silver and stuff,

and the idea,
as good as it is,

I don't think ends up
in your final product.

- Okay, thank you.
- Jo, you can step down.

- Thank you.

- Jordan, please step
to the center.

? ?

- So tell us
about your concept.

- My wacky dentist kidnapped
a real dentist,

tied him up,
put him in the closet,

and is now taking customers.

- It's ridiculous.
It's childlike.

I love it.

There's some beautiful shapes.
There's some beautiful painting.

It's very cartoony,

but it satisfies the challenge.
The only part of the challenge

it really didn't satisfy
is the gag.

- It's precisely like the zonky
type of shenanigans

we expected to see out
of a challenge like this,

and I think you delivered
super strong.

- Thank you.
- I love your color choices.

Those teeth are just so shiny
and so rotten at the top.

Fantastic, you did a great job,
darling.

- Thank you very much.
- Jordan, please head back.

- Thanks.

- All right,
let's talk to Sasha.

? ?

- Tell us about your concept.
- I wanted to create a monster

that had some shapes
of an insect

and an alien that would live
in Tim Burton World.

- The gag feels
really uninspired.

? ?

It's not well-integrated
into the fundamental design

of what you did.

- There's no payoff.
There's no monster involved,

and that is one of the main
things we wanted to see,

and I think staying away
from Tim Burton

when you have to do
light and breezy

is a much better choice.

- It comes down to the general
sculptural shape of your head.

It doesn't convey the things

that you listed
of insect, alien.

- Thank you.

- Sasha, if you'll
please head back.

Mel, please step up.

? ?

- Would you tell us the concept
behind your monster?

- I decided to pull

from some animal influences
in the design.

It's a rhino and a cow
sort of meshed.

- I've seen a rhino.

They don't look
anything like that.

He looks scary already,
and then he pulls down his skin.

It still looks like the same guy

with a bunch of eyeballs
on his forehead,

so we don't have enough
of a split there.

- Thank you.

- The skin texture
that you chose,

it feels like you were using
yarn art as a technique.

It's just not the level
of quality

that I would love
to see from you in the future.

- Thank you.
- The entire kids aspect of it

is so desperately missing.

It's not appropriate
for the challenge,

is the biggest issue for me.

- Okay.
- Mel, please step back.

- Thank you.

? ?

- All right, thank you, guys.

If you'll please head
back to the makeup room

while the judges deliberate.

? ?

All right, judges, we've got
a lot to discuss tonight.

Why don't we start with some
of your favorite makeups?

Let's begin with Walter.

- When I saw that blood

dripping down
from the side of the hat,

I went,
"Oh, this is disturbing.

This is gonna be good.
What's going on under there?"

- To hide that furled brow that
emotes this sinister, devious,

evil nature under the hat,
that's quite brilliant.

- It really showcased
competent character design.

- But the teeth were rubber.

It would have been so cool

if he would have done
acrylic teeth.

That would have made it
look more animated.

- All right, judges,
let's move on to Jordan.

- Polar opposite of Walter
because it is over the top.

I really appreciated
that he did his own thing.

- It's that beautiful shading
that brings

the whole thing together
and makes it feel alive.

But he missed the gag.
There's no gag.

Had to be a way to reveal
how cool that thing looked.

- All right, so as you know,
we are sending

two artists home tonight,

so let's move on to the makeups

that didn't work
for you this week.

Let's start with Jo.

- She had no place
to go with that.

I think it was just a bad idea
from the beginning.

- Going with hard surface
modeling,

especially the first time
you've ever done it,

it's just far too difficult.

When you make a bad decision
conceptually, you're doomed.

- So judges, remember last week
Jo was in the bottom

with her Mr. Toad character.

What do you think of that?
- Similar problems.

I didn't think the design
was very well resolved.

- And the paint job
was not great.

- All right, so let's talk about
someone else

who was also
in the bottom last week

and this week, Mel.

- It would have worked if the
paint hadn't been so dark.

It was horrifying
to begin with.

- She did do, I think,
one of the cooler reveals.

I did enjoy the gag,

but I do think
that she is capable of better.

- All right,
let's move on to Sasha.

- That reveal's a pasted-on
afterthought,

just a mouth on the top
of the head.

How does that make it scarier?

- There's so much room
for growth there cosmetically.

- Last week she did
that mermaid in the wheelchair.

The face was a little rough,

but the whole idea
was pretty cool.

- It's not the concepts
I'm worried about.

It's the technical execution.

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

- We have.

- We have.
- Yeah, we have.

- All right,
let's bring them back out.

? ?

Welcome back, guys.

Glenn, who is the winner
of this challenge?

- The winner of tonight's
challenge is...

? ?

McKenzie: The winner
of "Face Off: Battle Royale"

will receive a VIP trip

from Kryolan
Professional Make-Up

to one of their 85
international locations,

an all-new Fiat 500,

and $100,000.

.

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

- The winner of tonight's
challenge is...

Walter.

[applause]

The rabbit guy

was a very, very clever way
to approach this challenge,

and your brain gag was also
extremely successful.

Way to bounce back this week.
- Thank you so much.

It feels extremely good to get
a win on an All Star season,

and it's momentum
going into the next challenge.

- Walter, congratulations.

You and Jordan are safe

and can head back
to the makeup room.

- Thanks, guys.

- All right, guys, as you know,

you are all on the bottom,

and two of you
will be going home tonight.

Please step forward.

? ?

All right, Glenn, who is the
first person going home tonight?

- The first person
going home tonight is...

? ?

Jo.

We thought your creative
concepts

were really quite strong,

but you set yourself
on a super-tough path,

and the execution
of those concepts

was your undoing this week.

- Jo, you have all the things

it'll take to make a really
fantastic makeup artist.

I'm sure you're gonna
be spectacular in our field.

- Thank you.
- Jo, it's been so great

having you back with us,
but you have been eliminated.

If you'd please head
back to the makeup room

and pack up your kit.

- Thanks for the opportunity.
- Thank you, Jo.

- Good luck, Jo.

- It sucks to be eliminated
so early,

but it's been
an absolute pleasure

to have been part of All Stars.

- So Glenn, who is the second
person leaving us tonight?

- The second person
going home tonight is...

Sasha.

You have a great,
vivid imagination,

but your ideas congealed
into an alien-like being,

and it just didn't satisfy

this lighthearted
monster challenge.

- Sasha, I'm sorry, but you have
also been eliminated.

So that means Mel,
you are safe this week

and can head back
to the makeup room.

- Thank you.

- Sasha, I love how you think

and approach things,

and you will be missed,
but it's gonna be a pleasure

to see what you do
with your future.

- Thank you.

- Sasha, it's been so great
having you here with us.

If you'd please head
back to the makeup room

and pack up your kit.

- Thank you, everyone.
- Bye, sweetheart.

- Good luck.
- Thank you, Sasha.

- Good luck.
- Good luck.

- Coming back as an
All Star helped me realize

how much I want to grow.

There's so much
I still don't know.

all: Oh.

- I would have liked
to go further,

but I'm honored to be here

with so many talented people,

and I just can't wait
to keep going with makeup.

- I had so much fun being able
to sculpt monsters

and apply makeup.

I have no idea
what I'm gonna do after this,

but I definitely know
that art will be something

I'll never let go of.

McKenzie: Next time
on "Face Off."

We're delving into the world
of an ancient culture.

- I want to take away
some of the human form.

- But that doesn't take it away.

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

- The face is not coming out.

I'm screwed.

.

McKenzie: Previously on
"Face Off: Battle Royale"...

- Ooh.
- What?

McKenzie: The artists
battled head-to-head

with their Aztec aliens,

and Damien earned
his first victory.

- What?

McKenzie: And tonight...

- Oh!
[laughter]

- Welcome to the
Face Off Grand Hotel.

- This is so cool.

McKenzie: No one is safe

in this spooky
elimination challenge.

- I'd go even bigger.
- I'm not feeling it.

- Her edges are not going down.
It's insane.

- I don't know if they're gonna
like this makeup.

- This is
"Face Off: Battle Royale."

[all cheering]

[exciting music]

? ?

[intense music]

? ?

- What?

- Oh, this is awesome.

[eerie music]

- Spooky!

- Oh, it's Damien's room.

- We walk into the lab,
and it's all foggy,

and I see cobwebs, and I'm like,
"Finally, we're getting scary."

? ?

- Is that a ghost?
- Yes, yes, yes.

- There's this
eerie hotel desk,

and someone's
putting mail away.

What's going on right now?

- Oh!
[laughter]

Hello there.

Welcome to
the Face Off Grand Hotel.

Are you checking in?

- Mm-hmm.
- Oh, fantastic!

Well, we do happen to have
just enough rooms

for each of you
on the 13th floor.

- I knew it. I knew it.

- Oh, my God.
This is so cool.

McKenzie has never done
anything like this before.

She is so spooky
but quirky and fun,

and I'm just excited
to get into this challenge.

- Unfortunately, we do--
we do seem to be having

just a little problem
with our hotel staff,

because, you see, our finest,

they went to go ready
those rooms,

and, well, they disappeared,

but perhaps you could help.

- Yes.
- Would you? Yes!

Great.
Thank you so much.

I happen to have enough tags
for our missing staff,

just some spare ones.

So if you would
all just be a peach

and come and grab one
and bring them back to us,

oh, we would be
forever grateful,

and we understand that they're
not gonna be quite the same.

Maybe a little quirkier.

Hello!
Maybe even a little ghostly.

All right,
so who wants to go first?

How about my little pirate there
with the gray beard and hair?

If you could
come pick one there.

Yes, that would be fantastic.

What's it gonna be?

Oh, great choice.

- I think I'm gonna do maid.
- Yes!

Oh, this is so exciting.

You with the striking
arms there.

[laughter]

- Maid.
- Oh, good.

Ooh, I love it.

Oh, another bellhop.

Ha, ha, ha.
Let's see yours.

- Chef.
- Well, now you made that easy.

[bell dinging]

- Concierge.
- Concierge it is.

One final one.
You get the handyman.

Oh, you're just too cute.

- You too.
- Thank you.

Oh, I'm so excited
to see our staff again.

Now, I must let you know
that in two days' time,

it'll be
the one-year anniversary

since our entire staff
disappeared,

and the supernatural energy
will be at its peak.

So it's imperative
that you get the job done.

[scattered chuckling]

Understood?

- Okay.
- Thank you so much

for choosing
the Face Off Grand Hotel.

Bye-bye, now.
I'll see you soon, okay?

- Bye.
- Thank you.

[rock music]

- Since I won
the last challenge,

I'm actually gonna get
Mike Mekash to help me,

which is freaking amazing.

- Damien?
- Hey, Mike.

- Nice to meet you, man.

- He works on
"American Horror Story: Hotel."

So this is his forte, creating
spooky hotel characters.

So what I was kind of thinking,

since we really only
have time for a face,

is just doing, like,
a fat makeup.

The concept that Mike and I land
on is this fat, overweight chef

who's locked away
on the 13th floor,

and he's actually been
eating himself to death.

- Maybe do multiple rolls.
- Leading up to that big one?

Yeah, some saggy cheeks
would be cool.

- You know what I mean?
- Mike feels really confident

in the foundation
of the concept that I have

and just builds
right on top of it,

making me feel even
more better about it.

Black-and-gray, like,
'50s, '40s style.

- Yeah. I mean, I don't think
that's a bad idea.

- So do you think I should--

- I just--but add
some color into it.

- I see Damien as
my number-one threat,

so I've been wanting
this battle to happen.

My concept is a ghostly,
emaciated chef

who poisons himself
by eating his own food,

and now he's damned
to be infused with the forks

and knives and the food
that he served people himself.

So I want to give it a Disney
"Haunted Mansion" kind of look.

I've never done
a two-day challenge

on "Face Off" on my season.

So the number-one thing
is time management.

? ?

- I chose the concierge.

My idea is that he's just been
waiting for so long,

he starts rotting,

and I want to make
his face all decrepit.

I've got my work
cut out for me,

because I'm battling Walter,
and he is very talented.

- What are you doing?

- I'm doing an old,
spooky ghost.

You getting scared?
- It scares me a lot.

- I can see it in
your face, Walter.

- Whew.

For my concierge,
I would really like to try

and do some things
that I don't normally do,

which is beauty makeup
as well as hair work.

So I'm going
for a bubbly, quirky,

Harley Quinn-meets-zombie.

I want her to have slits
coming from her mouth,

like maybe she went crazy

and kooky and carved
out her smile, like the Joker.

- Great. Let's show the drawing
on one, two, three.

? ?

- [groans]

- I got this idea
that this bellhop,

he was constantly told,

"You know,
you need to smile more.

You need to smile more,"
and he just snaps.

So he takes a staple gun

and he staples
a smile on his face.

I love my concept,
but I'm worried that

it's a little too creepy
for the judges,

but it's still a ghost, and I
still want to scare some people.

- So my battle partner
this time around is Kelly,

and she's a quirky character.

I'm a quirky character.

So it's gonna be a good
mash-up in our battle.

So the idea for my bellhop

is whatever she saw
on the 13th floor,

just completely
scared her stiff.

So now she's stuck
in the afterlife

with this permanent
screaming expression.

I feel like, with the quirky
nature of this challenge,

I can put my style in there
a little bit.

So that has me excited.

? ?

- So I have the maid, and my
idea is that she died cleaning.

She is still feather-dusting.

She's coughing.
She's covered in cobwebs.

She spent her
whole life cleaning.

She's gonna spend
her whole death cleaning.

So far in this competition,

I feel like I have been
a little abstract in design.

So for this challenge,
I am not gonna go too big

and I'm not gonna go too weird,
and we'll see what happens.

? ?

- I'm so excited
for this challenge.

For the first time,
I have so much clarity.

I have such a strong direction.

My concept for my maid
is that she walked in

on some famous person
having an affair,

and they strangled her
to shut her up.

I'm actually
pushing my fingers in

to create
this frozen-in-time,

like she just stepped out
when she died.

So I'm hoping it'll make
this character quirky and fun.

? ?

- I really wanted
a bellhop or concierge,

but I think the handyman

could be the creepiest
out of all them

just 'cause he probably lives
in the boiler room.

So I just start sculpting
this cool, asymmetrical face.

His nerves are all shot,

so he has this
one side drooping.

I want to run mine
in silicone so, like,

the facial features
will move a lot better.

It will help me win my battle.

- My concept is
a clumsy handyman

that eventually ends up
getting electrocuted to death.

As I'm sculpting,
I'm having flashbacks.

On my season,
I did this handyman

ghost figure to fit
in a "Beetlejuice" setting.

Now I feel like
there's a lot of pressure

to outdo myself
from the last time.

Why did I do this to myself?

And on top of it,

I'm battling Derek
for this challenge,

and I feel quite intimidated,
'cause he is very good.

I know that if I don't present
something truly unique

and I lose this battle,
I'll definitely be in trouble.

[tense music]

.

- I picked the handyman,
and I can't believe I did this,

because I already created a
handyman character on my season,

and he was a ghost,
and, on top of it,

I'm battling Derek
for this challenge.

So this is intimidating.

This is a two-day challenge,

so I don't have time to dwell
on worrisome parts of this.

So I just stop thinking

that I already created
something like this.

I stop thinking about
who I'm battling,

and I just really focus
on making a fun,

cohesive character.

? ?

- He's definitely
looking like a fat guy.

- Yeah.
- Just make sure,

when you get your fat suit,
that your fat suit

goes up high enough
and it really kind of pushes--

- Pushes that up a little bit.

We pretty much have
the entire face blocked out.

We're actually
gonna make a cavity

inside of the neck of the
gullet so we can put some bags

filled with water inside.

So as my character's
turning around,

his neck can flop and actually
have real water weight to it.

- This is looking amazing.
- Thanks.

- Man, I did a handprint
in the last two hours.

- Mike's so awesome.

He's easy to talk to
and get along with,

but it's time for him to leave.
Later, man.

- All right, buddy.
- Well, it's sad to see him go,

'cause we were having
a lot of fun together.

It's not every day
that you actually get to work

with one of the best
makeup artists in the industry.

? ?

- Hi, everybody.
- Hey!

- Well, I selected the chef.
- Okay.

Why do you have
such a realistic nose

and all this whimsical
fantasy going on?

- Well, I wanted to try to make
it real Disney-esque, a bit.

- I could see more of a--

coming this way
and distorting your nostrils.

- Thank you.
- Good. Good luck.

- So I have the bellhop.
- With your stretching,

if you're gonna
bring this up to here,

that skin then
needs to stretch from here.

Otherwise, this would
stretch down here like that,

which leaves you
a lot more open mouth.

- Okay.

- I have the handyman.

Well, half his face
is drooping,

and this side is gonna
be more evil-looking

and just kind of grumpy.

- When you're
gluing this down,

leave this unattached
across the eye here,

just so it lays on the eye.

You're gonna get a really
great effect of that, you know?

- Right.
- I selected the handyman.

He has some dings and a broken
nose like he's beat up all day.

- Now, with your veins here,
take your stick

and literally
go around both sides

so you get a very soft
little rise

as opposed to,
you know, a worm.

- Okay.
- Yeah.

Well, good luck to everybody.

- Thank you.
- Bye-bye.

? ?

- I'm doing
a fragmental design.

[grunts]
Which is many pieces

that are meant to work
on one face together.

I have my forehead
and cheek sculptures finished.

So I'm making one mold that
has three prosthetics in it,

and I can move on to the nose
and chin sculptures.

I've got a lot of work to do,

but I'm really hoping
the judges are gonna be like,

"You did all this in one day?"

That would be a nice kudos.

? ?

- ? Making a fat suit ?

? Making a fat suit ?

So the overall fatness
of this guy

is one of the core ideas
of this makeup.

So I start off by fabricating
a foam fat suit on a mannequin.

I'm trying to make the gut kind
of come out from the ribcage,

and I really want to give him
some nice man-boob covering.

- That looks good.
- We'll see.

I don't want to spend too much
time fabricating this fat suit,

but I feel like
it's coming together.

Yeah, I think I'm just
gonna do the upper torso

and then just stuff
the rest of him

with whatever I need.

? ?

- Graham, do you still have
that permanent marker?

- Yeah.
- Can I use it real quick?

- Mm-hmm.

- I want to make
a chest piece for my maid

that just sort of brings out her
sternum and see some ribcage,

just 'cause it's been
a year since she's died.

So I want that to show
a little in her body.

I grab a piece
of plastic wrap

and I put it over
Yvonne's chest

and roughly sketch the space
that I want it to fill.

- This is a really good idea,

especially since your
feature is, like, right there.

- And then I put that
on a flat board and draw it out.

So I know
that I want my sculpture

roughly to fit in that area.

It's definitely a good idea,

because I would have made
that thing so much bigger.

They're little ladies.

Yvonne, you're so little.
[chuckles]

? ?

- She's got long hair,
but it needs to be white.

Trying to make her
own hair white

might be more trouble
than it's worth.

- I think it would be.
- You do?

- I think it would be better
to use a wig.

- All right, thank you.

So this character is basically
going to look like

almost a feather duster
walking through these rafters,

just kind of collecting
everything in her hair.

So I take a nice, beautiful,
sleek wig and I mess it all up

into this big
tumbleweed-looking shape,

and I then take hot glue

with compressed air
right behind it,

and I start spraying
this glue everywhere,

and I made these
really cool spider webs.

Like, black feathers
to white feathers--

- Ooh, yeah. I like it.

? ?

I need to be
in the mold room,

but I'm still working
on this face.

I decide to make it
a bit more realistic,

and then I step back,
and instead of a smile,

it looks like he's just...

so I'm not feeling it.

If I make it out of this one,
I'll be impressed.

It's too [bleep] lost.

This isn't a scary challenge.

This is a quirky challenge.

I don't know,
if I go too creepy,

they're gonna scorn me or
if they're gonna love the fact

that I've really added
that horror element.

I'm nervous.

We got two people going home,
and I don't want it to be me.

Please just let me be safe.

It'd be a miracle.

.

- Please just let me be safe.

It'd be a miracle.

The face I'm sculpting
is not working.

I tried to go more realistic,
but I'm not feeling it.

So I asked for Kevon's opinion.
Kevon?

- Yeah?
- Better?

- Personally,
I'd go even bigger.

- So I instantly go in,
bring out some teeth more,

and make it a bigger smile.

I should've just
[bleep] stayed with

how I was going
in the beginning.

Woulda, coulda, shoulda.

What the [bleep] ever.

I'm not happy with it,
but at this point,

I got to get it
in the mold room,

otherwise I don't have a face,
I don't have anything.

[bleep].

? ?

- So now that the face
is finished molding,

I'm spend the rest of my day
making the utensils

that are going to be fused
with his body.

I'm making little epoxy molds
to stick them in

so I can put that under
the foam so they won't wobble.

I think these are
the perfect additions

to give my character
that extra pop.

- That's time!

- We did it!

- At the end of day one,

I'm feeling really good
and confident,

and I really want
to put an end to Damien's

winning streak and create
an even battleground.

? ?

[aggressive rock music]

? ?

- We walk into the lab,
and all my pieces look awesome.

I'm excited to apply
the silicone for this challenge.

I have a lot of experience
in recent films

I've worked on with silicone,

so I feel confident
that it'll come out great.

? ?

- What up, man?
- Hey, nice to meet you.

- Hi. I'm Mackenzie.
- I'm Jordan.

- Hello. I'm Kelly.
- Hey.

- I have to paint the teeth,
make braces,

and make it look good before
I even put it on my model.

So I've got to work smart.

? ?

To make foam latex
look like teeth,

I take my epoxy putty, mix it
to a solid-colored consistency,

and I brush over each tooth.

Not only will it give it shine,

but it'll also
make them more rigid,

so it's gonna move
with the model and stay put.

And this is the reason
I'm not doing this on your face.

? ?

- Everything I'm applying
is a silicone,

but I'm not overly familiar
with that material.

Ooh, this looks cool.

This looks very cool.
Yeah.

I figure, if I apply
the chest and I go up,

I can build
in my own learning curve,

and hopefully, by the time
I get to the face,

I'll be a silicone expert.

These are not going down as nice
as they were in my brain.

? ?

- I'm going to make
you beautiful, darling.

With just having
a face prosthetic

and not having to worry
about a whole lot else

on this challenge, I just
really want to get in there

and make it
as clean as possible.

As I'm painting my piece,

everything's going along
pretty smoothly.

I start off by painting
a little bit of red,

and then I go in with
a little bit of a darker purple

and start spattering
over that.

I think it's gonna
turn out really well.

? ?

- So my maid is going to
have a very non-colorful design

in her wardrobe
and in her hair,

so I want to bring some color
into the makeup.

I begin contouring
with some dark blues.

I contour with some grays,

and I also go in
with some white,

kind of dust her face.

I then add lavender
to give her

that ghost look
and to pale out her skin.

It's gonna be really cool
if I do it right.

? ?

- Hold it right here, and
that'll kind of hold that open.

Time is of the essence today,
so I'm doing careful planning.

I wrote out a whole list,
and if I can follow this list,

I can get this makeup done.

As I dissolve some of the edges,
it's irritating the model,

and I need to cool off
any areas

that he's not feeling
comfortable with.

I'm just trying
to dab water on it.

That feel better?
- Yeah, kind of.

- There's so much to do.

So I just figure,
you know what?

Some of these edges
I can look past,

and we can just turn them
into flaky skin

or something like that.

You doing okay?
- Yeah.

- It's an hour to paint it.
Ha ha.

- Cool.

? ?

- It's paint time,

so I start
with a dark purple base.

Then I go with a lighter blue,
and I bring in some more purple.

? ?

I'm trying to pull out
that "Haunted Mansion,"

"Ghostbusters" feel to it,

and so far I feel like it's
getting really spook-tacular.

? ?

- I really want to showcase
the electrical burn,

so I grab some gelatin,
and I put some tissue

and latex over top of that
so I can pick out parts

and really just make it nasty.

I still have to paint it,
but it's looking pretty gnarly.

I'm happy with it.

? ?

- I'm terrified of this.

The last time I did
a beauty makeup was season ten,

so it's been a while.

? ?

I want her to be pretty
but scary and crazy-looking.

So I'm doing ombre lip effect,
the smoky eye,

and then I do some purple
mottling from the sides.

I don't have that much
beauty makeup experience.

So hopefully it works out
and I can squeak by this one.

? ?

- We got 15 minutes, guys.

[intense music]

? ?

- That's time, guys!

That is time!

- I'm gonna put your hat
on a little bit further,

just to make sure
it doesn't come off.

Time is up on application,

and I'm starting to worry
about the contrast

maybe a little bit,
that he might be too dark.

So I really need to dial in
a lot of the paint.

I have to lay a mustache
and then finish this gullet.

So I'm gonna have a lot of work
to do in Last Looks.

? ?

.

[suspenseful music]

? ?

- [bleep].
Forgot all my brushes.

It's Last Looks,
and I realize, [bleep],

I don't have my brushes.

They're back at the lab.
I am screwed.

I have to get
this character painted,

so I'm applying makeup
with lip gloss brushes.

Not ideal in the slightest,
but got to make it work.

? ?

- Oh, like--
- Yeah.

- The gelatin's coming off
around the hands,

so I'm freaking out.

I don't have time to fix it,

and I have a lot to do
to complete this character.

- Might as well come over here.

I am always so stressed in
Last Looks, and today I'm not.

I just need to refine
a few details.

I'm really just buttoning her up
at this point.

I like that a lot.

- The neck
left a giant cavity,

so I take a condom
filled with water

and then place it inside
of the neck,

so that way it actually
has a jiggle to it.

Yeah, looks cool, man.

- Ten minutes--

[intense music]

? ?

- All right, guys,
it's time.

- Time's up, and I don't know

if they're gonna like
this makeup.

I didn't get the hands painted.

I don't even know
if I like this makeup.

All I know is that it
was not fun making this makeup.

Damn it!

[suspenseful music]

? ?

- Good evening, everyone.

Welcome to the
"Face Off" reveal stage.

Tonight, two of you
will be eliminated.

Before we get to business,
please say hello

to our awesome series judges.

Owner of Alchemy Studios,
Mr. Glenn Hetrick.

- Good evening.
- Good evening.

- Oscar and Emmy Award-winning
makeup artist Ms. Ve Neill.

- Helloooo, everyone.
- Helloooo.

- And, of course, creature
concept designer Neville Page.

- Hi, guys.
- Hey.

- Hey, Neville.
- All right, let's get to it.

Now, from what I understand,
a certain deranged bellhop

asked you guys
to help bring back

the staff of the
Face Off Grand Hotel,

and it seems she only gave you
two days to complete the task.

- Yep.
- Well, suffice it to say,

we're excited to see
what you all came up with.

Let's take a look at your
haunted hotel employees.

Graham and Walter,
you're our first battle.

? ?

- After looking at it
out on stage, I go,

"That's a cool ghost.
I can deal with that."

? ?

- I don't feel that she looks
quite as good as Graham's,

but hopefully I at least
fulfill the challenge

and it's enough to get me by.

? ?

- I'm definitely worried,
because I'm against Derek,

and his makeup looks
really awesome.

So I don't know where I stand.

? ?

- I'm loving how he's looking,

but Yvonne's looks
a little bit more quirky.

So I'm a little worried.

? ?

- I feel it's
one of my most fun

and dynamic makeups
I've done.

I think I have Damien
on the ropes at this point.

? ?

- My paint is a little dark.

I kind of wish there was

a little bit
more contrast in there,

but otherwise I'm fairly
happy with the character.

? ?

- I like my makeup,
but I'm wondering

if I should have made
the hand more obvious.

You question everything
when you see it onstage.

? ?

- I definitely pulled off
this challenge.

She's funny.
She's spooky.

She's everything I wanted.

? ?

- I'm seeing my guy cheesing out
and I cannot stop laughing.

I definitely could have done
a cleaner makeup, but he's fun.

? ?

- She screams quirky, wacky.
This is definitely my style.

I'm feeling pretty confident
with this character.

? ?

- All right, guys,
let's take a look

at the staff of the Face Off
Grand Hotel back in action.

Check it out.

[gentle music]

? ?

[vacuum cleaner whirs]

? ?

[applause]

Okay, judges,
go ahead and take

a closer look
at these quirky characters.

- Give us a little "grr."

- What is--the teeth
are just painted on

to make it look crooked,
isn't it?

- Yeah.
- It kind of works.

It's pretty clever, actually.

It's very Joker-like
with this purple outfit on.

I don't know if that's right
for the challenge.

- The nails don't go
with the face.

The face isn't really
necessarily ghastly.

It's a bit confused.

- It's got a decent
distance read and silhouette.

- His veins are so not right.

- The wrinkle directionality
is so strange.

That expression is quite creepy.
It's very effective.

- I wish that his left side
was a little bit more specific.

- I love the asymmetry of
the eyebrow up there.

Boink.

- It looks like
the Imagineers' work at Disney.

I think that's a great
approach to the challenge.

- Don't you think it's just
a bit too colorful, though?

- For another challenge,
I would agree.

- No, but I love the paint job.

[laughter]

- Nice. Very nice.

- Oh, what a reveal.
- I wish it had

a little bit more
diversity in the color.

- I love the bloated chin.

- It is a bit odd.

It got a little muddy,
I think.

- I think she does look
really cute,

but she also looks super alive.

- The colors are too warm
to feel quite dead.

- I'm worried that I haven't
met the challenge.

- All right, guys,
it's time to get on Twitter

and tell us who made
your favorite haunted hotel

employee using #faceoff.

.

- That looks
a bit too full of vigor.

The colors are still
too warm to feel dead.

- I like mine.
It matched my vision,

but I'm worried that
I haven't met the challenge.

- I don't understand

why Mel couldn't
do a better beauty makeup.

Well, it's quirky, all right.
- Oh, yeah.

What is so successful with
this one is the proportion.

- Oh, good God.
All the makeup's coming off.

- I can't make any sense out
of the shapes of this sculpture.

It's very, very confusing.

- Feels like it's a theme park
pneumatic pop-up head.

- And I dig that
for this challenge.

I just don't want to see every
single thing look like this.

[suspenseful music]

- Okay, the judges
have chosen the winners

and losers of each battle.

So let's find out
who came out on top.

In battle number one,
Graham versus Walter.

the winner is Graham.

[applause]

In battle number two,
Yvonne versus Derek,

the winner is Derek.

[applause]

In battle number three,
Matt versus Damien,

the winner is Matt.

[applause]

- Great job, man.

- In battle number four,
Mel versus Kevon,

the winner is Kevon.

[applause]

- Thank you.

- And, finally,
in battle number five,

Kelly versus Jordan,

the winner is Jordan.

[applause]

Congratulations
to all of our victors.

All right, now the judges would
like to speak with some of you

before they make
their decisions.

Mel, please step forward.

[tense music]

? ?

- Hi, Mel. How are you?
- Good. How are you?

- Tell us about
your ghostly character.

- I thought that she would
go into the room

and walk in on someone
having an affair,

and they would strangle her.

- There's some huge problems
with the color palette.

She does not look dead at all

but rather very lively
and heavily shaded,

and so I think it's a major
issue with the color choices.

- This makeup got
a little muddy for me.

You really need to do
a lot more definition,

especially around the eyes.

- The colors
that you chose make it feel

more like
a theatrical stage makeup.

The sternum reads well,
but from a distance,

there's just not much
of a draw to this character.

- Mel, you can head back.

Kevon, please step up.

? ?

- Kevon, tell us
about your ghostly maid.

- I wanted her to personify
the feather duster.

So she is one with her
occupation in death.

- She's very successful.

She's got
a great distance read.

I love the coloring
around her eyes.

She does have a bit of Who nose,
we were noticing.

- Yeah, I think I wanted
to keep her a little endearing.

You feel sorry for anyone

that has to spend
their entire afterlife cleaning.

That's terrible.
- It's so perfectly balanced.

It's a fantastic character,
head-to-toe.

- Appreciate it.

- The stylized sculpture
is perfectly balanced

with the paint job
that you did on it.

You've really tuned in
to one singular vision.

That's what I want to see
from you every single week.

- Thank you so much.
- Kevon, please step back.

- Good job, dude.
- Thank you, guys.

- Kelly, you're next.

? ?

- Tell us about
your ghostly bellhop.

- So I have Clarence.
and he's constantly being told,

"You need to smile more.
You need to smile more."

Then, eventually, he just snaps,
and he takes a stapler,

and he staples a big smile,

and he's just like,
"Is it big enough now?"

- The lack of integrity in the
anatomy of the face concerns me.

Where the makeup jaw ends
and where the actor's jaw is

are two totally
different places.

It no longer feels right.

- He's got the proportions
of a mailbox

more than he does a head.

I like the idea of his lips
being stretched open.

Unfortunately, I think it got
away from you this week.

- I think your paint job
is a little lacking.

It's just a pale,
bluish-gray muddiness.

There's not enough definition
of color around the mouth

to define the staples
compared to his skin tone.

- Kelly, thank you so much.
If you'd please head back.

Matt, please step forward.

- Tell us about
your spectral creation.

- With my character,
I wanted to go

a little ghastly with it,
a little tone of horror.

So the idea is that it's a chef
who wanted to commit suicide,

so he poisons the food and feeds
it to the rest of the staff

and joins them all in death.

- This is exactly what I was
looking for in this challenge.

I think it worked exceedingly
well during the performance.

There's enough
contrast to the color

that it read
during that entire thing.

- Thank you very much.
- I love the color palette.

She just shimmers,
and the forks--I love the forks.

and that little reveal
with taking the hat off,

very clever.

Great job this week, honey.

- Thank you so much.

- I do love the sculpture,
but for me it stops there.

Some of the parts
don't add up for me.

- Matt, you can head back.
- Awesome job.

- Yvonne, please step forward.

- Tell us about
your electrifying ghost.

- He's the handyman
for the hotel,

and he had a few dings
in his past life

and ended up
getting electrocuted.

That took his final life.

- I don't feel that this guy
is very inspired.

It's missing the quirkiness
that I wanted to see.

It just looks like a Tim Burton
guy with a gray face.

- The boniness around the eyes
is handled, I think, quite well,

but then from
the cheekbones down,

you've got some
asymmetry going on.

So there's moments, but
it's not a cohesive character.

- It ended up feeling
very alive and very organic.

It doesn't feel like a ghost,
and that's a big problem.

- Thank you.

- Yvonne, please step back.

All right, thank you, guys.

If you'd please head
back to the makeup room

while the judges deliberate.

? ?

All right, judges, so we have
a lot to discuss tonight.

Let's start with your
favorite makeups this week.

Why don't we begin with Kevon?

- I think, overall,
he did a great job.

It was really
a cohesive character.

It had a great distance read.

It was a little rough up close.

- This thing is
so much better than anything

that he's produced this season.

He didn't beat it to death with
details that it didn't need.

- That metaphor
that he chose, the duster,

allowed him to
edit himself down,

to do what we needed him to do
in a two-day challenge.

- All right,
let's move on to Matt.

- It's such
a complete character.

It worked within the challenge
aesthetically

but most importantly, it looked
great during the performance.

- I loved the makeup.
It was fun.

It was quirky.
Just what we asked to do.

- So as you know, we are sending
two people home tonight.

So let's move on
to the makeups

that didn't work
for you this week.

Let's start with Mel.

- Mel just didn't do
the challenge or a lot,

and what she did do,
she did in such an odd way.

- And the face is colored, as if
it's as alive as you and I.

It has more color than we do.

- And you know what?
It was messy.

The eyelashes were sloppy.
The eye makeup was sloppy.

She could have made her
look beautiful and ethereal

and done a really clean makeup,
even with the prosthetics,

and she didn't do that.

- All right,
let's move on to Kelly.

- Oof, that jawline,
it was like

this far off
that actor's jawline.

- It's just a lack
of working with the anatomy.

It's this weird blue rectangle
of braces and bad paint.

It was a mess.

- You know, lately,
she's not been doing well.

- And, finally, Yvonne.

- It wasn't
a zombie challenge,

and that's kind of
what she ended up with.

It did not feel like a ghost.
It did not feel ethereal.

- At least if she could, like,

do something fun
with the paint job,

it would've been
a little bit more exciting,

and the skin
texture's bizarre to me.

- It's just raked-in lines,
and that's not going to cut it

on a season with
this many talented people.

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

- We have.
- Yes.

- Let's bring 'em back out.

? ?

[suspenseful music]

? ?

Glenn, who is the winner
of this challenge?

- This decision
was not unanimous,

but the winner
of tonight's challenge is...

? ?

McKenzie: The winner of
"Face Off: Battle Royale"

will receive a VIP trip from
Kryolan Professional Make-Up

to one of their
85 international locations,

an all-new Fiat 500,

and $100,000.

.

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

- The winner of tonight's
challenge is...

[suspenseful music]

? ?

Matt.

[applause]

[upbeat rock music]

There's some great stylistic
choices in that sculpture,

and the color palette
really helped your character

to stand out
during the performance.

- Thank you so much.
Appreciate it.

It's my first win.

I've been top,
but I hadn't tasted

that victory yet.
It feels great.

- Matt, congratulations.
Great job this week.

- Thank you.
- You and Kevon are safe

and can head back
to the makeup room.

? ?

All right,
unfortunately,

that means you are all
on the bottom this week,

and two of you will be
going home tonight.

Please step forward.

[suspenseful music]

? ?

All right, Glenn, who is the
first person going home tonight?

- The first person going home
tonight is...

? ?

Kelly.

You had another great concept,

but the proportions
of the sculpture

didn't really work,

and the paint job itself
seemed very unfinished.

- Kelly, honey,
you are so talented.

You're gonna do well
in this business.

Go rock it somewhere, baby.

- Thank you.

- Kelly, it's been so great
having you here with us,

but you have been eliminated.

If you'd please head
back to the makeup room

and pack up your kit.

- Thank you.
- Bye, honey.

- I just wish I could've
gone one more round,

but I'm proud of myself.

Next step is just keep on doing
what I do and never giving up.

- So, Glenn, who is the second
person leaving us tonight?

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

? ?

Yvonne.

We think you're very talented,

but the way that
your makeup was executed,

it undermined your otherwise

very good ideas
for this character.

- Thank you so much
for bringing me back.

This is so cool.

- Yvonne, I'm so sorry
but you have been eliminated.

That means, Mel,
you are safe this week

and can head back
to the makeup room.

- Thank you.

- Yvonne,
you're gonna be missed.

- Aw, thank you.
- You truly are,

but I think we haven't seen
the last of you.

- Well, thank you again.

- Yvonne, it's been so great
having you back with us again.

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

- It's a pretty big bummer
to leave,

especially this early
in the competition,

but I'm really happy
I've been a part of this.

I'm going home.

- Oh.
- What?

- And you too, Kelly?

- I had so much fun,

and I got to meet
some amazing artists.

I love what I do, and I'm just
gonna keep on making monsters.

- Now that
this journey's over,

now I have to go on
to the next.

So I want to be
an on-set makeup artist,

and I enjoy sculpting,

so my goal is to balance
those two worlds together.

McKenzie: Next time on
"Face Off"...

- What you doing?
- Trying to beat you.

- I accidentally tipped
that over.

- I am pretty upset.

- I'm capable of something
that's better than this.

- It's pretty damn good.

- Dude, your paint skills
are beyond the beyond.

.

McKenzie: Previously,
on "Face Off: Battle Royale."

The artists created
whimsical monsters.

Walter's police-bunny
brought him the win,

but Sasha and Jo fell short in
the first elimination challenge

and were sent home.

And tonight...
We're delving into the world

of a brilliant ancient culture.

- I'm ready to go.
- I wanna take away

some of the human form.

- But that doesn't take it away.

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

- The face is not coming out.

I'm screwed.

[dramatic music]

- This is "Face Off:
Battle Royale."

[all cheers]

[exciting music]

? ?

[electronic music]

? ?

all: Ooh.
- What?

We walk into the lab

and I see stones and leaves.

I'm like, "What's going on?"

- Good morning, guys.
all: Good morning.

- Congratulations
on making it past

the first round of eliminations.
- Thank you.

- This week,
we're delving into the world

of a brilliant ancient culture

that believed
in 13 levels of heaven,

the Aztecs.

The Aztecs left behind
intricate parchments

with colorful images
of the gods they worshipped

and advanced technology

that remains unexplained
to this day.

Now, some do theorize
that this technology

was given to them
by ancient alien visitors

and that the images of the gods
they left behind

were actually
the aliens themselves.

- Nice.
- So your Spotlight Challenge is

to choose the image
of an Aztec god

and create an ancient alien
that might have inspired it.

- That's great.
[laughs]

Aliens.
I love that.

That speaks to me
immediately.

I got so many ideas.
I'm ready to go.

On season seven,
I was a bottom look

on our ancient alien challenge,

so I really wanna redeem myself
and show the world

that I know
how to make an alien

and I know how to make
a good alien.

- And the scrolls next to me

represent the gods
that you'll have to choose from.

They are:
Quetzalcoatl,

the feathered serpent
creator God;

Tezcatlipoca,
the god of war and conflict;

Tlaloc,
the god of rain and lightning;

Xochipilli,
the god of fertility;

and Tonatiuh,
the sun god.

Okay, there are two scrolls
for each god.

So remember,
when you choose one,

you're also choosing
your battle partner.

Damien, you're up first.

? ?

- I'll...

go with you.

? ?

- May the gods be with me.

- So our head
to head battles this week

are Damien versus Graham,

Derek versus Matt,

Yvonne versus Mel,

Kelly versus Walter...
- We got this.

- And Kevon versus Jordan.

And before I send you off
to work,

just a quick reminder
that the winner

of this week's
Spotlight Challenge

will receive
the help of an expert

in next week's challenge.

Good luck.
See you soon.

- See you.
[all murmur]

? ?

- I choose Tlaloc,
the god of rain and lightning.

So I take what's ancient alien

and Meso-American in culture

and merge those two
with colors and symbols

of water and lightning.

I'm a big fan of
the Peruvian elongated skulls.

I know it is a risk
to incorporate that

'cause it is
the classic alien look,

but I think it'll really tie in
to Aztec culture.

I'm battling Derek
since he also chose Tlaloc.

I love Derek's work.

I think he's an amazing
artist and designer,

so I'm really excited to see

who comes out on top
in this challenge.

? ?

- I'm reading about Tlaloc,
and it says that

he has features
of a jaguar and jaguar teeth.

So I'm giving my alien
a jaguar exoskeleton.

On the scroll,
he has big, googly eyes,

but I'm going with no eyes

just to stay away from
that traditional alien look.

My biggest worry is that

it might read
more creature than alien

and all the pieces I wanna
incorporate in my character

are gonna be a lot,

but I feel like it needs it
and I need to step it up.

I really wanna win this
challenge.

- So I picked Tonatiuh.

He's the god of sunlight
and warmth,

and, uh, in exchange for that
sunlight and warmth,

the Aztecs sacrificed
thousands of people to him

every single year.

I'm going with
a more traditional alien

that has bright yellow skin

and this crazy
bio-mechanical gear

that emits rays
of sunlight and warmth.

I really got to make sure
I'm on my game

because I know Graham's gonna be
out looking for blood this time.

I know you're coming for me,
Graham.

- I choose Quetzalcoatl,

the feathered serpent
creator god.

In the artwork on my scroll,

it has big mohawk hair

and something
that looks like a beak,

but I don't wanna use feathers,

so I decide that my alien's
going to have

a sleek face
with a very harsh, pointy mask.

I wanna incorporate
the ring around the neck

as a cool color.

She's gotta look fierce.

I'm battling Walter,

and we've both won a challenge
as an All-Star

so this is gonna be interesting.

Two winners going head to head.

- I got Tezcatlipoca,
the god of war and conflict,

and I'm going to be
battling Kevon,

which is really crazy
because Kevon's from my season.

So this should be
an interesting battle.

So I start blocking out
the face.

Just kind of feeling out
the clay.

I start off
with a more elongated,

traditional head for an alien,

and then I had to
incorporate aspects

from the actual drawing
on my scroll.

There's a lot of circles
throughout the head area

that I'm turning into
membranes.

There's also this gold mask,

and I think it'd be really cool
to have that reveal

a mouth full of black,
gnarly gums and teeth.

- Now we're [bleep] talking,
Jordan.

- You like it?
- Yeah.

- I'm very, very far outside
my comfort zone right now.

[both laugh]

- I'm not really
too into aliens,

but I'm really liking where
my shapes and forms are going

with my sculpture.

? ?

- Mel and I have Xochipilli,
the god of fertility.

I'm actually really excited
for this

'cause I think of life
and plants,

and there's a lot of leaf-like
shapes in the scroll,

so I wanna make leaves

that are growing out of her

to give, like,
a crown-like feel,

but then I want distinct
alien features in the face,

and I want her holding a baby

as her prop
to represent fertility.

? ?

- Xochipilli's associated
with butterflies

and four suns and seven flowers,

so I'm incorporated a butterfly
on the face

as part of the anatomy
and then working in

some of the sun
and flower elements as well,

and I hope it reads.

It's reading like a butterfly,
you think?

- No.

- But it doesn't.

- If you're going for fish,
that's pretty good.

- Graham tells me
it looks like a fish.

- Oh, that's cool.
Kind of fishy.

- I don't want it to be fishy.

And then Damien tells me
that he loves my fish.

So now I need to figure out

how to make this alien
less fishy

without me starting over.

? ?

- Tonatiuh.
Tonatiuh.

I have Tonatiuh,
the sun god.

He's the center
of the Aztec calendar,

so in my design,
his face is the center

and sort of radiates out
into a sun shape,

but rather than emitting light,

I'm thinking maybe his skin
is metallic

and he actually reflects light.

- Oh, that's cool.
- Yeah, it's totally different

than everyone else's though.
- So?

It's good.
- So, might not be an alien.

[deep demonic voice]
We'll see.

I'm hoping the judges
are gonna say it's unique,

but who knows?

Maybe they'll like
a regular, old alien.

[sighs]

? ?

- Hi, everybody.
all: Hey.

- I selected
the feathered serpent.

He is believed to be

a flying reptile.
- Mm-hmm.

- So I wanna do,
like, a feathered mohawk,

and then bring, like,
a scale pattern up.

- Now what about the rest
of the body?

- I've seen so many makeups

that are just this and they win
and they do good, so...

- Yeah.
- I really wanna focus on this

and do a really good job.

- Well, it could be
a time saver for you.

I think you're right on.
- Cool.

- What god did you select?

- Tezcatlipoca, the god of war.

This face is gonna be divided
into three stripes,

and then on top,
I wanna give it a color pattern

that is going to represent
the stripes.

- What are you gonna do
in the mouth?

Are you gonna put teeth in?
- Maybe.

I haven't thought about it.
- I wouldn't even do a maybe.

This is the god of war,
and he's nasty...

- Okay, teeth.
- And he's mean,

and when he does...

one of those things,
he's badass.

- Yeah, all right.

- What Meso-American character
did you select?

- Xochipilli.
He's the god of fertility.

I saw this marking on the face.

I thought it'd be interesting
if it was sort of,

like, a butterfly on the face,

but two people have said
this looks like a fish,

which doesn't feel great.
[laughs]

- You wanna say beautiful
or pretty, but it's a fish.

[dramatic music]

This is the challenge.
- But I wanna take away

some of the human form,
you know?

- Well, but that really
doesn't take it away.

That makes it look like
you're doing a fish.

- I'm starting to feel
really stressed out

because my face
still looks fishy.

- Yeah.

- I have burned the first
two hours of the day

and I don't wanna start over,

so if Mr. Westmore doesn't know
how I can fix this,

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

? ?

.

[dramatic music]

- Two people have said
this looks like a fish.

- Well, you know, to me,
it looks like a fish.

Your nose.

- I feel really stressed out

because my fertility god's face
still looks fishy

and I don't wanna start over,

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

- You say you wanna
make her be beautiful...

- Yeah.
- And you're creating wrinkles

all over her face.
This is the challenge.

On your design here,
it has a type of nose,

but it's a little higher up.

This needs to be toned
down tremendously.

- That's great.

Thanks, Mr. Westmore.
- Good luck.

- Mr. Westmore, as usual,
gives me great advice.

So now I can move past
this fish nose.

- God of war?
Okay.

- In the story,
it mentions obsidian a lot

and a darker,
almost black skin tone.

- You don't wanna
make him obsidian because--

I mean, it'll totally disappear

unless you did so much
highlighting in there.

- Yeah, uh, what I'm thinking
about doing

is start him out,
like, a translucent white,

and then do several washes
of a darker area,

and a lot of the raised areas

will keep that translucent white
alien look.

- That's a good look.

- I'm going with
plant-like forms...

- Mm-hmm.
- Because I just feel like

it's more mothering
to have her a female.

- Mm-hmm, mm-hmm.
- I wanted to go with

an older version 'cause she's
the one that passes on life

to the people
that birth the newborn.

- I think lengthen this mouth
a little bit,

especially if you're gonna try
to do some old age in here.

- Right.
- Bye, everybody.

- See you later.
- Bye, thank you.

- Bye.
- Bye.

[electronic music]

? ?

- Mr. Westmore
helped me with the face,

but I'm still a little hung up
on this cowl right now.

I like asking Kelly for advice
'cause she shoots straight,

and that is really
what I need right now.

If on the head,
maybe this particular alien

wears a few ornamental parts.
- [inhales sharply]

- Just a few things
that it wears.

- No, the way you were
throwing it on there,

it wasn't reading very well.

I'm not gonna [bleep]
lie to you.

Don't get too lost in the little
details of the illustration.

Think of the whole character.
- Mm-hmm.

- You got this [bleep].
- Thank you.

My objective is to make
a badass war god

and if I have
a goofy looking cowl,

I don't think
it's gonna get me there.

So I'm going to focus

on making it
more anatomically sound.

? ?

- Is it done?
- Well, what do you think?

Does it look done?
- Sure.

- Once I build the face,

the next thing I need to start
thinking about immediately

is how to make these fins.

He has this large orb
in the center of his forehead,

and behind that,

it kind of fades up
to the shape really nicely.

So I start to create
some bone structure

for what I consider the fin,

and I start vacuforming that

to see what that shape's
really gonna look like.

It's got the shape
that I'm looking for.

It's has this nice wing,

almost Dilophosaurus
kind of look,

and I think it's gonna work.

[growls]

- One hour, everyone.

? ?

- That's time, guys.

- No.
- Ow.

- Sorry, Damien
belly button holed me.

? ?

[laughter,
overlapping chatter]

- Hey, Damien.
- Hey, Graham.

- How's your foam?
How am dat?

- It came out good.
- Good for you, friend.

Good for you.

- It's day two of
our ancient alien challenge,

and the first thing I do is
a latex pool of my face

because I need to sculpt
my character's mask.

Since they are
misinterpreting her

as a godlike-looking bird,

I need the mask
to look like a beak

but still have
a futuristic design to it.

So I got my work ahead of me.

? ?

- I've already sculpted
a really traditional alien,

and I know that my paint job
is gonna bring

a lot of that Aztec-ian
sun god feeling to it,

but I don't feel like
it's gonna be enough Aztec.

My god actually
has this amazing headdress

that's very ornate
and hanging off his head,

so I decide rather than
actually copying that helmet,

I'm just gonna take pieces
of the anatomy

and try to pull some Aztec
influence into this helmet.

It looks almost exactly
like my concept drawing,

and I'm pretty excited
to see how it turns out.

? ?

- For my cowl, I wanna convey

a feeling of elegance
yet dominance.

It's beautiful, but it is
very dangerous as well.

Man, that's just fun to look at.
I dig it.

- Thanks, dude.

So I go in with
a lot of the filigree work

and the crop circles--
to me, that says alien--

and then I make sure
I incorporate

the Meso-American symbology
on the cowl.

It's, like, integrated
into his biology.

It's really coming together.

I'm extremely excited and happy
with the visuals.

? ?

- I'm sculpting my cowl,
my chest, and my hand pieces,

all pretty much
at the same time.

The cowl's gonna mimic
the shapes of the face.

The chest is gonna have
a big open area in the middle

with the exoskeleton
features flowing out.

- It's gonna be, like, the bones
protruding or whatever?

- Yeah, some--
something like that.

- That's cool.
- Thanks.

And since my structure is
all bone structure,

I'm gonna do the same things
for the top of the hands.

I'm a little bit worried
about time

'cause this is a lot to mold
and I feel like maybe

I bit off a little bit more
than I can chew,

but I definitely wanna stand out
from the crowd

and be on top,
so I'm taking this risk.

? ?

- So glad I made this
in monster clay right now.

Once I have the mask sculpted,

I take it over to the vacuform

so that I can take
some thermoplastic and...

[mimics vacuum]
Snap it on there.

I know that the heat
can reactivate my clay,

so I wait
for the last possible moment

to put my sculpture
underneath there.

Kind of worked.
I cut out the plastic.

I take off the mask,
and I go to clean the clay out,

but the face is not coming out.

Man, I should've put
a release agent on this.

Turns out that I didn't put
any release on it,

and since it's so thin,

scraping clay out
can ruin my mask,

and I don't have time
to sculpt another one.

This mask is crucial
to my concept.

I'm screwed.

[dramatic music]

.

[dramatic music]

- I can't believe this.

I vacuformed a mask
for my alien,

but I didn't put any release
on the clay

and now it's stuck
to the plastic.

I'm scraping and clawing

and it's not coming out.
[bleep].

I finally get to the point
where it's good enough.

I'm not going to have
to redo the face,

but I gotta work smart.

This is "Face Off."

No more [bleep] mistakes.

[electronic music]

? ?

- I'm sculpting
a decorative chest piece

to give a more ancient Aztec
look to my character,

but it's also integral
to the design.

I wanted to have
a literal reference to my god,

so I'm incorporated
lightning bolt hieroglyphs

since Tlaloc is
the god of lightning and water.

It's not too big, so it's not
gonna be too much of a hassle.

There's just enough time
to get it molded

so I can have it ready
for tomorrow.

- What you doing?
- Trying to make an over mask.

- An ugly mask?
- An over mask.

- Oh, over--
[laughs]

- I'm making an over mask

that goes over top
of my alien's face

to represent the gold mask
drawing on my scroll.

[machine hissing]

So once I've got
my mask sculpted,

I rush it over to the vacuform,

then I base out the mask
in black,

then I drybrush it gold.

I didn't get around
to doing everything

that I wanted to today,

but my mask is done
for the most part

and I'm pretty happy with it.

If I do as clean of a makeup
that I know I can,

I can win my battle with Kevon.

- Last 30 minutes, everyone.

? ?

- All right, guys, that's time.

- Good job, everyone.
Well done.

- [sighs]
- Am I happy with what I did?

It's the end of day two,

and I'm pretty proud
of what I got done.

I got a collar.
I got a cowl.

I got a face.
I got my hair.

I just need to go in with
a little bit of rub and buff

and, bam,
we got metal.

- That's awesome.

- I'm going to kill it tomorrow.

- Not bad, Kelly.

? ?

- Go, go, go, go, go.

- Oh, God.
What do I got?

- Not so bad.

- Looks like it came out.

- The first thing I do is
check on my hand molds,

clean 'em out,
slap some latex in there.

Let it dry while I pre-paint.

I'm the only one that got
a chest piece done,

and it's gonna be tough
going back and forth,

but today's all
about multitasking.

All right.

- Whoo!
- Hey.

- Hello!
- Hey, girl.

- Hi.
- How are you?

- Good, how are you?

- What's up, dude?
- Chase.

- Ugh, this thing has
so many little details.

I really like to pre-paint

because it gives me
a lot more time in Last Looks.

I can just walk in
and feel calm.

I have an opportunity
to fine-tune

instead of damage control.

So the more I can
get off my plate,

the better shape I'll be in.

? ?

- Mask on.
- This part is so scary

'cause if you mess it up,
it's all over.

I begin to apply to the face.

Is it on the nose?
- Close.

- But I'm having
one hell of a time

trying to make the face
fit properly.

Oh, [bleep].

Now, if I can,
I'll try and stretch it higher.

I'm just terrified
I'm gonna ruin this edge.

It's taking more time
than I want it to,

but I just got to keep going.

How about that?
- That's better.

- Okay, good.

? ?

- This is gonna be
the most intricate paintjob

I have ever done.

I plan to make a fade pattern
on each individual scale,

and there's probably
100 or so scales on him.

? ?

It's taking a lot of time,

but it will be well worth it.

So Kelly's in trouble
on this one.

- You can go ahead
and sit back down for a minute.

I'm gonna grab an air--
another airbrush

so I can base you out.
I really wanna redeem myself

from my Egyptian alien
from season seven.

That was actually
the only challenge

that we had Ve Neill
as one of our judges,

and I painted a yellow alien
that she hated.

So this time, I'm gonna paint
a yellow alien

that she's gonna love.

So I fill up this giant
[unintelligible] hopper gun

and I just start
basing him out

in a giant cloud of yellow,

then I spatter in contour
with some oranges and reds,

bring those colors in,

and I really wanted to do
a crazy, unique,

reptilian kind of pattern
coming off his back

and around his stomach.

This makeup is gonna either live
or die with the paintjob,

and I'm just having
tons of fun doing it.

? ?

- Hold still.
This part's integral.

I'm applying these fins
to the cowl

to really get the sun shape
out of his head.

I take a little bit of hot glue
and tack it all together,

stand back, then I'm thinking,

"Maybe these could use
something else.

"Metallic feathers?

That might be pretty cool."

- All right.
I can dig it.

- Let's see how this fits you.

There's 45 minutes left
and I have most of this painted,

but I'm a little nervous

because it's the first time
I'm seeing it on her together.

No, that is a mistake.

She looks like
a plucked chicken.

That's freaking me out.
[bleep].

This has a long way to go.

I've spent the last three hours

pre-painting this to make my
Last Look simple,

and instead
it's gonna be frantic.

? ?

- So I'm at a decent point
with my paintjob.

All of my membrane areas
are coming out

exactly how I wanted them to.

I need to see if my over mask
is gonna fit properly.

Let's see if this even works
at all.

Once I bring it up
to my model's face,

I realize that it really
kind of throws off

the entire shape of my alien.

Yeah, it's, like, stupid.

So I decide to scrap it.

That sucks.
At this point, I'm just glad

that it's not
an elimination challenge.

If it doesn't work,
it doesn't work.

- 15 minutes.

? ?

- All right, guys, that's time.

- Time's up,
and there's no mistaking

that this is a sun god,
so I'm super stoked.

- [sighs]
- That looks awesome, dude.

- Thanks, man.

- And then I
look over at Damien,

and he just nailed
his paintjob.

It looks so cool right now.

We got one hour left.

I can't just let him
run over me.

I'm gonna have to come with it.

All right, bring it on.
Let's go, Damien.

.

[dramatic music]

- I'm trying not to panic,

but it's terrifying
going into Last Looks...

Go, go, go, go, go, go, go, go.

Knowing I only have an hour
to fix this.

Not only do I have
to change her silhouette,

but I have
to change my paintjob

that I just spent
three and a half hours doing.

? ?

- Bam.
Oh, all right.

I should've put more detailed
painting into the helmet,

but I'm trying to make
the decision on whether or not

to actually
paint my model's back

'cause I'm really happy
with the paintjob

that I have on his chest,

there's just
not enough time for both.

[bleep].

So I decide it's definitely
gonna be worth it

to leave my helmet
where it's at

and go full bore
with the body paint.

? ?

- So I'm contouring
as fast as I can.

I'm trying to really
punch up these colors,

and I look over at Damien

and I'm like,
"Are you kidding me?"

Oh, [bleep].
The back?

He's painting the back?

So I'm, like,
calming myself down.

I'm like, "I can beat that."

Where's my pack of black?

? ?

- It looks ganky.
Okay, where's my scissors?

I'm cutting this off.

Time is running out
in Last Looks,

and the gold armor
I put on my model,

it's just not working.

Ugh, there's no [bleep] way.

There's no [bleep] way.

I don't want it to distract

from all the other work
that I've done,

so I scrap it.
I like that.

- 15 minutes!

? ?

- That's time.

[overlapping chatter]

- All right.
I mean...

it's better.

Time is up,
and she looks

a thousand times better
than before Last Looks.

It's really just gonna come down

to what the judges
are gonna think.

[exhales]

? ?

- Good evening, everyone.

Welcome to the
"Face Off" reveal stage.

Please say hello
to our fantastic series judges.

Owner of Alchemy Studios,
Glenn Hetrick.

- Good evening.
all: Hi, Glenn.

- Oscar and Emmy Award-winning
makeup artist Ve Neill.

- Hello again, everyone.

- Hello, Ve.
- Good evening, Ve.

- And, of course, creature and
concept designer Neville Page.

- Hi, guys.
- Hey, Neville.

- Hi, Neville.
- All right, let's get to it.

For your Spotlight Challenge,

we asked you to select
an image of an Aztec god

and create the ancient alien
who might've inspired it.

So let's take a look
at your creations.

Derek and Matt,
you are our first battle.

? ?

- It looks cool.
I really like it.

The details are showing,
but I don't know if it's enough

for the judges to notice.

? ?

- Derek's is very primitive
and Aztec.

I don't see anything
symbolizing water or lightning,

so I'm thinking I may have
a good shot at this.

- I'm really liking
how all the colors

are contrasting
with one another.

I'd like it to look maybe
a little bit more natural,

but I'm still
overall happy with it.

? ?

- I'm watching the lights
reflect off of him

and it's totally giving
that whole vibe

that he's, like,
this shiny sun god,

so I think I might've
won this battle.

- I really like this one.

My makeup looks very,
very warrior.

I think this could definitely be
a win for me.

- I'm really loving
the head area.

It reads really well from afar,

so I'm happy with the makeup.

? ?

- I like mine more
the more I'm looking at it,

but there's
a lot to look at it.

I'm proud of this makeup,
but it's not my favorite.

- I like the way my god looks.

She looks godly,
and I think she looks alien.

I'm hoping I win this battle.

- My alien walks on stage
and it's fierce.

The eye makeup brings
an attitude to her face,

so I'm happy.

? ?

- My ancient alien
looks powerful.

He has a presence that none
of the other ones have.

This is the coolest makeup
I think I've ever done.

- All right, judges,
go ahead and take a closer look

at these amazing aliens.

[upbeat dramatic music]

- Some really cool-looking
alien designs going on.

- It's super cool.
It's just it missed

a lot of the alien aspect.

It looks more like a creature.

- Well, it looks like Matt went
with the aquatic theme for sure.

- There's this alien shape
to the head

that inspires the headdresses

and the shapes
of their ornamentation,

which is the core
of this challenge.

Beautifully executed form.

This is way better up close.

- The palette
is so beautifully done.

- There's some really strong
design elements in her helmet.

- Oh, yeah.
It's fantastic.

- This doesn't feel
like alien tech.

It doesn't feel functional.

It feels like
a ceremonial headdress.

- There's a cohesive design,
but it feels clumsy.

? ?

It feels like the top
of the head is

a separate design element
from the entire face.

- I think this paintjob
is completely wrong

for this challenge.

We've seen this design
quite a few times before.

- But it is done well.
- It sort of feels sketched in.

Like he decided to go back
and add all the details to it.

- Wow, there's a lot going on
on this baby.

- I just like that
it's a completely different

and unique approach.

- But it doesn't feel
like it fits in

within
that cultural inspiration.

? ?

I think it's a remarkable
bit of work.

- I don't know how that
translates

to what we're looking for.

Translating it
as an organic shape,

I think, is a huge misstep.

? ?

- The shapes themselves
couldn't be further off

from the type of art
that we're looking at.

- It's taking a step backwards

in quality and sophistication.

- Freaking gorgeous.
- Beautiful paintjob.

- What's happening
up in there is so beautiful.

Thank you.

[dramatic music]

- All right, the judges
have chosen the winners

and losers from each battle.

- It's very stressful
waiting for the results

because I'm the only person
that hasn't won one battle.

- Let's find out
who came out on top.

- If I lose this battle,
then I don't know

if I can even catch up
in this competition

- All right, guys,
It's time to get on Twitter

and tell us who you think
won tonight's battles

using #FaceOff.

.

- The judges have
chosen the winners

and losers of each battle.

Let's find out
who came out on top.

In battle number one,
Derek versus Matt,

the winner is...

Matt.

[applause]

In battle number two,
Damien versus Graham,

the winner is...

Damien.

[applause]

In battle number three,
Kevon versus Jordan,

the winner is...

Jordan.

[applause]

In battle number four,

Mel versus Yvonne,

the winner is...

Mel.

[applause]

? ?

And finally,
in battle number five,

Kelly versus Walter,

the winner is...

Walter.

[applause]
- [mouthing]

Congratulations
to all the victors.

Now, the judges would like
to speak with some of you

to find out more
about your work.

Kelly, please step forward.

- [mouthing]

? ?

- Hello, Kelly.
- Hey.

- Tell us about
your Quetzalcoatl concept.

- She's a bounty hunter,
and her name is The End,

and she's
a one woman Death Star.

She's sent to destroy Earth,

but instead she falls in love

with the brutality of
the Aztec culture and history.

- It doesn't feel like
it fits into this challenge.

? ?

You should be able
to readily recognize

in the alien

some version

of what becomes their art,

their translation of that thing,

and this feels very divergent

from the core of the challenge.

- Quetzalcoatl
was supposed to be,

like, a feathered serpent,
almost like a dragon,

and I don't see any qualities
of that in this makeup at all,

in coloring and/or styling

or anything.

- I see a hint
of serpentine aesthetic

with what might be
on the forehead scales,

but that feels more
Greco-Roman inspired

than it does what the
source material is giving you.

? ?

- Thank you, Kelly.
You can step down.

? ?

Damien, you're next.

? ?

- Damien, please tell us
about your sun god deity.

- He comes from a planet

that only has two suns
and no night time,

so that's why his skin's
yellowed and hardened

and wrinkled over time,

and, uh, when he comes
to visit Earth,

they actually have
this bio-mechanical armor

that helps keep
their bodies warm

since we have night time.

- Well, I got to tell you,

he is spectacular.

Could you just
remove the robe again?

This paintjob you did
is phenomenal.

The fact that he is
supposed to be, like, a sun god.

He is so colorful and fantastic

and just all around bitchin'.

I don't know how else to put it.

- Thank you so much.

- The sculpture on the face

is really complex

and sophisticated
and interesting,

and then you've got
the bio-mechanical helmet.

Just so well done.

Beautiful character head to toe.
- Thank you so much.

- This is
a really interesting nose shape

I've never seen before,

and I love that
you were able to get in there

and you hand painted
those vacs for the eyes too.

- Yeah, everything's
hand painted.

- It looks like
a team-challenge effort.

It looks like two people
working on this thing.

- Thank you.
- Damien, you can head back.

- Thank you, guys.

? ?

- All right,
let's talk to Graham.

- Hey, Graham.
- Hello there.

- Tell us about
your sun-god-inspired alien.

- So I tried to go with a round,
sun-like shape,

and the idea was he dropped down
and assumed the role of God.

- My problem with this
is it feels mask-y.

? ?

The way you chose to transition

from face to the vacuform piece

and then to the feathers,
there's no organic transition.

I don't know
what I'm looking at

other than a mask.

- This seems more like a man

that's taken the guise
of the alien that inspired it

when what we were really looking
for was the alien himself.

- I hear that, though.
- I think my favorite part

about this makeup
is your color palette.

I love the bronze and the gold
and the copper and all that,

but you blended them
all together

so there's no definition
between any of them.

So this is a big miss
for me this week.

- Graham, thank you so much.
Please head back.

? ?

I think it was good

- Matt, please step forward.

- Hello, Matt.
- Hello.

- Tell us about
your ancient-alien concept.

- I wanted to go very aquatic
with the coloring.

Also, I wanted to put some

Meso-American structures
into his cowl

and some of his high points,
so his cheeks, his jawline,

to try to tell some story
going on in his biology.

- The sculpture's just stunning.

The Meso-American shapes
that you spoke of that

you've integrated
into the organic forms truly

feel bio-mechanical.
I love that.

That's a great way
to have put the technology

and the shapes in it
instead of on it,

something I wouldn't have
thought of myself.

- Thank you.
- Your paintjob is amazing.

I love the turquoise coloring.

You really do have
the reflection of the water

and the lightning
and that whole feeling.

Very nice job this week, dear.

- Thank you.
- The whole character

is just striking.

Breaking out and highlighting
around the brow, the nose,

and at the chin,

it frames these
ornamental moments,

and that's what graphic design
is all about.

It's bloody fantastic.

- Thank you so much.
- Matt, you can step down.

? ?

All right.
Thank you, guys.

If you'd please
head back to the makeup room

while the judges deliberate.

? ?

All right, judges,
let's start

with some of your favorites
tonight.

How about Damien's work?

- It's so delightful to see
that kind of form development

in such a unique way.

- And the helmet contains
the form language

that so effectively ties it

to the Meso-American art.

It really looks like
that could've inspired the way

that they draw their gods.
- And the paintjob.

How did he have time
to do that paintjob?

- All right,
let's move on to Matt.

- Utterly skillful
and nuanced sculpting,

and the specific choices
of doing that reference

to the cultural ornamentation?

So beautiful.

- It really hit its mark

by creating
bio-organic mech shapes

built into the skin

that inspired the art

that was at the core
of this challenge.

- Let's talk about some of
your bottom looks tonight.

Why don't we start with Kelly?

- It had nothing to do
with the challenge.

It was the wrong color.

She didn't have one piece
of referenced anything,

on that character.

- This alien doesn't look
anything like the art,

so how are you
fulfilling the challenge?

- All right, and let's,
finally, talk about Graham.

- The entire makeup ended up
being a ceremonial mask.

It did not describe
advanced alien technology

or much
of the cultural reference.

- The feathers really
just put it

right into the party hat zone.

That was so silly.
- All right, judges.

Have you made your decision?
all: Yeah, we have.

- Okay.
Let's bring 'em back out.

? ?

Welcome back, guys.

Glenn, who is the winner
of tonight's challenge?

- The winner of tonight's
challenge is...

? ?

McKenzie: The winner
of "Face Off: Battle Royale"

will receive a VIP trip

from Kryolan
Professional Make-up

to one of their
85 international locations,

an all-new Fiat 500,

and $100,000.

.

- Glenn, who is the winner
of tonight's challenge?

- The winner of tonight's
challenge is...

[dramatic music]

Damien.

[rock music]

You really killed it this week
with your old school alien.

We loved the paintjob,

we loved the helmet homage
to the source material,

and the graphic design
was absolutely outstanding.

Well done.
- Thank you so much.

It's cool to win
on an alien challenge.

It's cool to redeem my alien.

It's great to get
a "bitchin'" from Ve.

That's probably the best part.

I'm pretty stoked that
I've gotten to join the ranks

of the bitchin' makeups.
[laughs]

- Damien, congratulations.

Excellent work this week.
- Thank you.

- Now, because you have won
this non-elimination challenge,

you will get the help
of an industry expert

in next week's battle.

Your expert has spent
the last 15 years

working as a makeup artist.

He's contributed his talents

on some of Hollywood's
biggest films

and television shows,

including "Mad Max: Fury Road,"

"Star Trek: Into Darkness,"

"Guardians of the Galaxy:
Volume Two,"

and "American Horror Story:
Hotel."

He's a three-time
Emmy Award winner.

The amazing Mike Mekash.

- So awesome.

Mike's worked
on so many movies.

It's gonna be awesome just
to work with him in general,

regardless of what
the outcome is.

- Okay, everyone.
Why don't you all rest up

before your next battle round?
- Thanks.

- Bye.
- Bye.

It's not a good feeling
to be on the bottom twice.

This just means
the next challenge,

I gotta bring it back
'cause I am here for a reason.

[dramatic music]

McKenzie:
Next time, on "Face Off."

Welcome to
the Face Off Grand Hotel.

- This is so cool.
- I'd go even bigger.

- I'm not feeling it.
- Your edges are not going down.

It's insane.

- I don't know if they're
gonna like this makeup.