Face Off (2011–…): Season 13, Episode 9 - Through the Looking Glass, Part 1 - full transcript

It's part one of the finale, as the finalists learn that they will be creating characters for an original short film based on the book, "Through the Looking Glass and What Alice Found There."

- 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

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.

- 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,

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,

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

- 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

He's much more grasshopper now.

- 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.

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.


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

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

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?


[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,

- 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.

? ?

Yep, there you go.

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,

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

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,

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...

? ?