All language subtitles for Face Off - 01x01 - Welcome To The Jungle.HDTV.XviD-sHoTV.English.updated.Addic7ed.com

Tonight, it's a competition
like no other.

We brought 12 talented
special effects

makeup artists to Los Angeles,

where they'll compete
to join the world's elite.

Week after week,
they'll face surprising challenges...

Drop 'em.

Oh, my God.
What am I going to do?

... with seemingly
impossible deadlines.

[bleep] whoa!

As the pressure rises...

I'm having a panic attack.

You want to [bleep]
do details, do details.

I feel like I'm being
made out to be the bad guy here.

... some will crumble...

Whoa! You okay?

I basically just lost
the [bleep] competition.

We have no idea
what the hell we're doing.

This might be the end.

... while others will shine.

- Holy [bleep].
- That's crazy.

I think we found
our challenger over here.

Time's up, everybody.

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

our award-winning panel of judges-

Ve Neill, the legendary
makeup artist,

8-time Oscar nominee
and 3-time winner

whose work includes
"Edward Scissorhands",

"Beetlejuice", "Batman Returns",
"Mrs. Doubtfire",

and the "Pirates
of the Caribbean" films;

Glenn Hetrick, cutting-edge
makeup effects artist on "Heroes",

"Legion", "CSI: New York",

"X-Files", and
"Buffy The Vampire Slayer";

and Patrick Tatopoulus,
visionary creature designer

for "Independence Day", Godzilla",

"Stargate", "I, Robot"

and director of "Underworld:
Rise of the Lycans".

I'm a very, very
big fan of your work.

I'm blown away.

I love this challenge.

Who will be the next great name
in movie magic

and earn $100,000 dollars

Tate: My name is Tate.

I'm 31 and I live
in Brooklyn, New York.

I've been doing special
effects for eight years.

I am extremely excited
to show everyone what I can do.

Megan: My name is Megan.

I'm 24, from Pittsburgh,
Pennsylvania.

I am ecstatic to be here.

Winning this
is very important to me.

I don't want to clean up
shop floors anymore.

Jo: I'm Jo Holland.

I'm 21, straight out of school.

My mother was very young
when she had me.

She let me be creative
and do my own thing,

and now I'm in
an industry that I love.

That's why I would love to win this

and I'd love to make her proud.

- What's your name?
- Megan.

- Megan, nice to meet you.
- Nice to meet you.

- And you?
- Anthony.

- How you doing, Anthony?
- Nice to meet you, too.

I own a makeup effects company
in New York City.

I've been doing this about 15 years.

I'm a self-proclaimed
MacGyver of makeup.

I will take whatever
I need to to get it right.

- How's it going, guys?
- How you doing?

My name's Tom.

Tom: I've been making
monsters for 11 years.

I am very dyslexic.

I have a real hard time
reading and writing.

That's kind of why I chose the arts.

- Tate.
- Tate!

- Nice to meet you.
- Tom.

Tom. Sergio.

I'm from San Antonio, Texas.

I'm 31 years old.

Did everybody here go to school?

Man: Yeah.

Sergio: I've never really
had formal training,

so it's a little scary because
it made me think about my shortcomings.

Keep it going.

It's a party.

Gage: My name's Gage Hubbard.

I've been in the business
for six years.

I'm super excited to be
a part of this competition.

It could make or break my career.

- How are you?
- What's your name?

Hey, what's up, Tom?

Tommy and I have had
a long history of working together,

and we can bump heads creatively.

Tom: Definitely,
Gage was my protege.

His first six films
were with me or from me.

Frank: My name's Frank Ippolito.

I've lived in Los Angeles
for 10 years.

I'm in magazines, on TV,

and I work on these giant movies.

I can't settle for last.

Conor: My name is Conor McCullagh.

I currently live
in Orlando, Florida.

I'm relying on the skills
that I've been honing

for 20 years to win this thing.

[chattering]

McKenzie: Hey, guys.
Welcome to "Face Off".

I'm your host, McKenzie Westmore.

Gage: I know the Westmore name.

Her whole family's
been a huge influence

on the makeup industry for so long.

Conor: Westmore is synonymous
with makeup effects,

especially with all
the "Star Trek" series.

I was very much in awe.

Over the next coming weeks,

you will all be put to the test

as we determine who among you

is the best special effects
makeup artist.

Is everyone up for the challenge?

All: Yes.

Good, because your first competition

starts right now.

Megan: This is the first day,

I have a cute little dress on,

drinking champagne,

and now you want to challenge me.

Good God.

This is a Foundation Challenge.

Foundation Challenges
give you a perk or advantage

going into the Spotlight Challenge,

where someone will be
eliminated each week.

Before we begin,
I would like to introduce you

to your judge for this challenge.

He's work on everything
from "Buffy" and "X-files"

to "The Prestige" and "Legion".

Please welcome Glenn Hetrick.

- Hey, Glenn.
- Hello.

Tate: Glenn's done everything,

so when I heard he was a judge,

I literally back-flipped.

McKenzie: Everything
that you see in this room

is going to be
a part of this challenge.

In fact, your waiters
are going to be your models.

Guys?

Wow.

Each model has a makeup kit
provided by Alcone.

You're going to have to
create an original face makeup

on your subjects.

Wow, man.

You're also
going to have to integrate

at least one item from this party
into your makeup.

And the stakes are huge.

The winner tonight gets immunity from
this week's elimination.

We're looking for
originality in your design.

But most importantly,

I'm looking for good technique

in your application and your paint.

You have two hours,
and your time starts now.

Megan: I grab the balloons.

I know nobody's going to
grab the balloons.

Tate: I saw these awesome flowers.

I'm going to glue them
to the head as horns.

I'm Sam, and I'm currently
living in Decatur, Georgia.

I have a lot
of classic arts training,

but I'm here to challenge my skills.

Get going with this.

Marcel: My name is Marcel

and I saw my first horror film
when I was four years old.

My parents explained to me,

"That's makeup, that's an actor."

And I was like,
"That would be so cool to do."

What the hell is this?

Anthony: The first thing I did
was I opened up my box

and I started ripping through it.

All right, brush kit.

I recognized 90%
of the stuff in there.

I was thanking God.

Jo: It's extremely intimidating.

You almost have to be a chemist

for most of this stuff
that we're using.

Frank: It was really hard

to even come up with something.

But I saw these peacock feathers
that looked like eyes

and I tried to make something
that was a bit sensible.

Conor: There were pre-made
prosthetic pieces in the kit,

and I found this leopard nose.

And I was like, "This is perfect."

So you're going to be
a reptilian creature.

I'm gluing heavy pineapple
leaves onto a guy's face.

I grab the Pros-Aide.

It's a contact cement
that can hold foam on real well.

I figure a happier zombie
to show my personality.

So I'm going to make teeth
out of cauliflower.

Jessica: I'm Jessica Kramer
from Scottdale, Pennsylvania.

I know I already beat out
a bunch of people to get here

and people would die
to be in my spot, so...

I know it's going to be tough.
It's going to be very tough.

You have one hour left.

How you guys doing?
I'm just about done.

Frank: Just by me being a big mouth,

I think that throws
a couple people off their game.

You guys can take your time
on the rest of that hour.

"I'm almost done!" I'm almost done!"

Shut up, Frank.

Anthony: This guy
puts on a prosthetic

and puts some brown makeup on it

and sat down and started eating.

Wow, this guy,
he's really full of...

I knew that a lot of people

we're going to go for horror.

I wanted to do something
a little more artistic.

You never quite know
how it's going to turn out.

If something doesn't work,
find another creative way of doing it

and it looks better
than what you've already thought of.

Tate: With about 45 minutes left

I had to abandon the horn idea

because they started to do this.

These things were literally
secreting juice.

I'm not a botanist.
I don't know this stuff.

Your time is up.

I'm completely unhappy.

- Hey, Tate.
- Hey, what's going on?

You want to tell us
a little bit about what you did here?

Tate: I didn't get to do
exactly what I wanted,

but I think that I pulled
a decent character together.

You do, huh?

Well, I guess that's your call.

How about the color?

I didn't have a chance
to go in and powder.

I'm happy with my edges.

All right.

Thank you.

Gage: I was expecting the worst.

I literally put up my shield
and was like,

"All right, let's hear it."

My whole idea was as if
he was going to pick up his prom date

and she took his flowers
and smashed them up through his face.

But I also wanted to have
a little bit of symmetry.

I wanted it to be a little bit more
interesting than just mush on his face.

I actually really like this, a lot.

What excites me
about what you're saying

is that the symmetry is on purpose.

Fundamentally, it's very well done.

Thank you.

Marcel: I don't care
how confident you are,

if someone of that caliber
is up in your work,

you're going to be nervous.

I was trying to incorporate
the hotel into this makeup.

She came here on a date,
got turned down,

and she had revenge.

I think David Bowie
is going to love it.

You've got the idea.
I don't think that comes across.

Anthony: I'm watching Glenn,

and as he's going through the line

he's literally picking
[bleep] apart.

I'm like, "Dude,
we have flowers and two hours."

I mean, come on!

My roommate believes
that aliens live among us,

so this is one of them.

And it took me about an hour.

Glenn: I wish you would've broken
the color up more, though,

especially when you're telling me
it only took you an hour

and you're happy about that.

Okay.

I'm disappointed you didn't utilize

all the time that you had
at your disposal.

Everyone else clearly did.

Thank you.

Anthony: I was elated
when Frank got called on it.

Bit him right in the ass.

I incorporated a couple aspects

of some different reptiles.

And, of course, a chameleon eye.

I'm impressed. You clearly knew
where it was going.

- Very cool.
- Thank you.

You could do anything.
You could do pretty, you could do ugly.

You could do scary,
you do a monster.

This foundation challenge
has big stakes.

You get immunity if you win,

so of course I want to win.

So, Glenn, the winner is?

Glenn: This is a tough decision.

It came down between Gage...

great eye, really nice balance...

and Tom.

You had the most creative use
of the materials.

The winner is...

This is a tough decision,

but it came down between
Gage and Tom.

Frank: Tom ended up hiring Gage

for his first couple of jobs,

so it's really interesting

to see them pit against each other.

Tom: I really want the immunity.

The last times I saw Gage's work

I think I could have
wiped the floor with him.

The winner is...

Gage.

Okay.

Gage: The moment of relief,

I don't know if it came
across on my face.

I was pretty dumb-founded.

Congratulations, Gage.

You have won immunity,

and you are safe from
elimination this week.

Gage: Tom and I, we're just getting
to know each other again.

I don't want to start
the whole thing off on the wrong foot

by being like,
"Okay, I won over you."

All right, guys, that's it for now.

Go check out your new loft,

and we will be seeing
all of you tomorrow.

Frank: Getting into these lofts
was really fun.

They're really cool spaces.

I'm kind of looking forward

to interacting with everybody
on a daily basis.

I just started jumping
on beds and on couches

just to drive Megan a little nuts.

This is a nice place, Frank!

Sam: I'm excited and nervous

and really unsure of what to expect.

Tate: I'm really tired,
but I'm also really excited.

I can't wait to see
what this lab is all about.

I'm out!

As soon as I walk into the lab,

it's literally Christmas.

I see the workspaces are great.

I see a woodshop,

I see ridiculous
amounts of materials...

all of the things that me
as an independent artist

don't have any access to.

Welcome to your new workplace.

Let's talk about your first
Spotlight Challenge.

You're going to have to create
a half-human half-animal hybrid.

But before I tell you anything else,

I'd like to give you a little bit
of inspiration for your creations.

First...

We've got a black beetle.

Beetles. That's gross.

Your next animal is...

[gasping]

... an ostrich.

- Wow.
- Oh, my God.

Sergio: I've never really seen
as ostrich up close.

They told us to stay
three feet away and just look

because he'd poke your eyes out.

I have one more little
surprise for you.

- Whoa!
- Yeah!

Oh, my God!

Anthony: They open up the gates
to the place

and Dumbo walks in.

- Wow!
- Wow.

My hair stood up on my neck.

I was like, "A freaking
elephant in the building?"

This, everybody, is Susie.

Say hello to Susie.

You will be paired up
in teams of two.

Your teams were drawn randomly.

Each team will need
to choose an animal

to incorporate into your creations.

There are three animals
and two teams will use each one.

When it's your turn,
you will also need to select a model,

which you will be doing by selecting

one of the casts
of their heads off the shelf.

Jessica, Jo.

Jo is very young,
and it terrifies me.

It's going to be a scary challenge.

I say if we do the ostrich,
we get a girl.

I say if we do an elephant,
we do a male.

I think the beetle is a no go.

Jessica: I was thinking ostrich.

Let's do her.

Jessica: We decided to pick
Diana's life cast,

which is the exact
replica of her face, but in stone.

That's what we make
all our molds off of.

So if I wanted to have a beak,

I'd sculpt the beak on it
out of clay.

Sergio, Gage.

When she said it was Serge,
I had seen Serge's makeup.

My personal opinion of it
was that it was cool.

- I'd be up for the elephant...
- Okay, cool.

He has a nice full face.

That's the first one I looked at.

- Cool with that one?
- Yeah, yeah.

Go ahead and grab it.

[thunks twice]

- Crack.
- Sweet.

Let's go with the ostrich.
Joy. Okay.

Wonderful.

All right, elephant.

Maybe Jayson.
He's bigger.

Okay.

Beetle.

Which one do you want?

We get the tiniest
head in the bunch.

You will have have three days
for this challenge.

The judges will be
looking at your technique,

creativity, execution,

and your overall presentation.

Is everybody ready?

- Yes.
- Go ahead!

Come here, baby. Stay.

Oh, you!

Be careful.

Anthony: So I'm sketching it up

and asking the handler
a million questions.

Do they have teeth?
What's inside?

Is it basically just all beak?

Does it run,
does it fly, does it spit?

Anything I could think of

to help me incorporate
into my design.

It's almost like a triangle.

Do we have a soldering gun?

Yeah. It's one of these things.

Oh, sweet. Perfect.

We came up with this concept

of a 1950s mad scientist

that turns into an insect.

My idea was to make bug arms.

Marcel: Okay, everyone hold still.

Our concept is a giant beetle man

dressed as an exterminator.

It has to be...

It shouldn't be just
a very large beetle.

It should remind you of a humanoid.

So I'm going to sketch out mine.

You do whatever you want,
and then we'll mix and match.

Sure enough.

I want to elongate the neck here.

I was thinking about that, too.

I want to make the neck
as long as possible.

Megan: We're like,
"Why not make this ostrich

into a sophisticated women?"

Dude, you got me.

We're on the page, right?

I was thinking I want
to do it Vegas showgirl,

so it's like really high fashion.

Jo: The direction that we did
decide to go in was high fashion.

It's something I don't
do normally... ever.

I want a lot of volume.

The first thing that comes to my mind
is leaving parts of human.

A hybrid.

Human hybrid.

Human elephant man.

Elephant man.

Let's do it.

Tom: Working with Conor
is an interesting predicament

because we're both alpha males.

Right there.

We're just not on
the same page with this.

That's what I would do.

I'm not trying to call the shots.

No, no, no, no.

I'm going to put
my own flavor on it,

but I'll stay within that size.

Tell you what.
Use your discretion.

Anthony: Two and a half hours in,

I look over at the other ostrich,

they got a full-blown beak
going up off the cast.

I'm like, "Holy [bleep],
that looks like a duck."

You're doing a skeleton.
It's not a skeleton.

But, I mean, do what you will.

First day in working with Jessica,

I already know
this is going downhill.

Let me go and try and find Sculpey.

Conor: Tom's idea was to make
something that looked like

it was maybe created in a lab.

Tom: I noticed theirs' from
across the way now

and they're doing
a very, very, very similar take

on what we're doing.

Once we started getting into it,

we realized our competition

were doing almost exactly
what we were planning.

- Gotcha.
- What's up, Conor?

You guys are doing the same thing
we were going to do.

We're already technically
behind everybody.

Yeah.

We were going to have
to start from scratch.

Sergio: What's up, Conor?

You guys are doing the same thing
we were going to do.

Oh.

Conor: Gage and Sergio were doing
almost exactly what we were planning.

So we decided to switch gears

and go back to my original idea.

So change direction
back to genetic mutation?

No, we go back to an evolutionary...

That's what I mean.

Tom: Conor wanted to be the boss.

I deferred to that.

All right.

We have four hours today,

nine hours tomorrow of shop work.

Is we spent our 13 hours
butting heads,

I know that we're not
going to finish our project.

Megan: I started looking
around the room.

I start getting
a little intimidated.

Megan just takes her hands,
grabs the beak,

and rips it right off
the freaking sculpture.

I was like, "Okay, I guess we're
starting over then."

The eyes... If we made
big, big ostrich eyes.

Yeah, and not Donald Duck.

Not Donald Duck.

Sometimes at the last minute
you got to change up the game.

Jo: Why don't we do
the feet out of Sculpey?

I can sculpt feet.

Uh...

um, we only have
a certain amount of time.

Yes.

Let's get done what we can get done.

All right.

All right, that's time, guys.

Let's get out of here.

- Let's go, man.
- Whoo!

Word.

Jo: So, day two,
we get back to the lab.

At this point
we have to really pull it out.

The sculpture
is slowly coming together.

The face is ready to mold.

Marcel: I sculpted the face
as much as I could,

and then in about an hour
I go, "Let's trade."

So she added her touches
while I was sculpting arms.

I'm headed, like, blam!

Put it up.
Power, heat.

I showed Tate how to use
the vacuform machine.

What it is is a big frame

and you put a piece
of plastic in there

and then it has heating elements

that heat that plastic up.

You pull it down
and suction it over a form

to make, in our case,
a plate to mount some antennas.

Sweet, man.

Tate: Me and Frank are jamming.

I love the guy.

He's talented, he's quick,
he knows his [bleep],

and I think that the judges

will honestly get a kick
out of what we do.

That's it.

Making molds takes a long time.

On a stone you can replicate

whatever kind of detail
you want with clay.

The place where the clay is

will eventually become foam latex,

which is what the actor will wear.

Some of these materials,
waiting for them to set up

can take awhile.

- How's it going, Frank?
- Just great.

I'm definitely noticing
Gage is working his ass off

and Sergio seems to be
at a snail's pace.

How are you and Sergio doing?

Well, he's finally molding the face.

Just now?
He just started?

Yeah, but there's still
so much to do.

Knowing that I have immunity
is a double-edged sword

because I really want to bring it.

I want Serge to shine

and I really don't want
to hinder him in any way.

I'm not the person
to screw someone over.

The splash coat's drying.

You should get a lot of the detail.

I realize that Serge
like to take his time.

I pulled super double duty.

I was trying to keep Serge on task,

trying to keep him sculpting,
but at a quicker pace.

- That would be cool.
- Yeah.

Marcel: Sam and I have
our sculpture done.

We have everything we need set up

and we feel really comfortable
with what we've done.

Frank: When I look around
at everybody else's work,

I have no doubt in my mind
that Tate and I

are going to be one of the top teams
in this challenge...

- Oh, that's so good.
- Right?

... if not the winner.

And then we saw Conor's sculpture
and it was beautiful,

so we knew we had some competition.

Yours looks good.

Jessica: They're perfect.

That's the exact color
I want to use.

Jo: I don't want to be
on the chopping block

because I go with
someone else's idea.

I need to be more assertive,

but instead of stressing her out

over trying to change something,

we're going to continue
on what we're doing

and hope for the best.

Gage: I look at the foot
and it's set rock hard.

It's supposed to be soft
and it's set like stone.

We didn't get the mix right.

I know right away
that we can't use it.

We have to scrap the foot.

Sergio: I'm very nervous

about presenting
our creation to the judges.

Since Gage has immunity,

if our makeup doesn't succeed,

I'm the one on the chopping block.

McKenzie: Coming up...

Gage: Our models walk in.

There was just no time.
I'm freaking out.

Nobody wants to be
the first one to go.

Really well done.

Please make me understand
whose idea this was.

Sergio: It's the morning
of Elimination

and we're very behind.

I'm not happy with these edges.

This is going to be
hard to blend out.

Sergio: We've hit some snags.

The leg piece that
we were working on

didn't set up right.

I think it's going to be horrible

because we really needed that

to balance the whole thing out.

Gage: Our models walk in

to start our application process.

Sergio.
Nice to meet you.

I was really hoping
to be much further along.

Are you excited?

Tate: Just stand right here.

I want to see how well
these fit you.

The bug arms are done.

Just push...

I slide them on her.
They fit perfect.

Frank, check it out.
We've got articulation.

- Oh, excellent.
- Nice.

Do me a favor.
Just lift your neck for a second.

Anthony: We took
the foam latex prosthetic,

fit it on her.

It fit beautifully.
The neck looked fantastic.

Great, now your character

is supposed to be a poet
in the 18th century in London.

Okay.

And you write your own tales
about yourself

and that's where
fairy tales come from.

There were a couple times
I'm looking at Megan

and I'm just not getting
what she was digging.

Your hands are together like this

and it looks like mittens.

And you walk like you're
a sophisticated woman,

but you are
an ostrich as well, so...

She starts doing the thing

with the prance and stuff like that.

I'm thinking maybe she did runway.

Then when you stop,
open up your arms.

There you go.
Wonderful.

Then what I'm going to do
is give you a pen

and then you just take that pen out
and get the book out.

You sign.
There you go. That's it.

First one to put the mask on.

- Put the horns up.
- Yeah.

When you have a bald cap on there,

you want it to be tight.

You can go ahead and let go.

[sighs]

Well, I end up pulling it too tight.

So we got a problem, Jessica.

I got a rip in my bald cap.

- Real bad?
- Pretty bad.

Jessica: That really bothers me.

I should have done it.

That's a half hour, guys.
You got 30 minutes to do this.

Do you guys have the super glue?

Thank you.

Cut the strap, cut the strap.

No, no, no.
We got it.

I think we should spend
the rest of this packing.

All right.

Found it.
It was all the way in the back.

And that's time!

Jessica: We pack up our kits

and we head over
to the stage for Last Looks.

We have one more hour
to do touch-ups.

Oops, she has a bald spot.

Yeah, I'm re-darting.

Jo: I am stressing.

Jessica is on my case
about this hole in the bald cap.

I'm trying to figure out
anything I can do to fix it.

It's going to be messy,
so we'll see how it goes.

Megan: You got the clips?

Hey, everybody, I think we found

our new challenger over here.

Megan and Anthony's
is looking really great.

And Sergio and Gage's
is looking worse and worse.

Nobody wants to be
the first one to go.

There's still a lot of places
to prove yourself.

I'm going to blow
into your fake eyeball.

Gage: There was just no time

and he still doesn't have hair def.

I'm freaking out.

You know what else
we could do real quick?

We can use the bandanna.

It's not looking
very good for us now.

Hey, guys, we got 15 minutes left.

[muttering]

Don't worry.
Let's get the arms on

and then you won't feel anything.

Tom: As I'm painting these hands

and trying to put my spin on things,

my own partner is kind of covering up
what I'm doing

as I'm doing it.

Conor: Try something other
than a paintbrush.

So now we're down
to six minutes and he's putting dirt

over everything
I keep cleaning off and painting.

Tom: I don't want too much dust

because I'm afraid it looks
like we're covering

everything I'm doing with dust.

I need to show what
I'm doing here as well.

And he's like, "Elephants are dirty.
What do you expect?"

And I'm like, "Well, your face
isn't covered with dirt."

Is there anything else?

We're just panicked.

We're like, "What if
they don't like it?

What if they see
something we don't?"

It is one nightmare after another.

I've got to say, I've never made
a costume like this before.

I know the hair thing
doesn't make sense right now,

but it will.

Brushes down...
our makeup looks like crap.

Welcome to the "Face Off"
reveal stage.

Tonight, one of you will be
eliminated.

Our judges, owner of Optic Nerve
makeup effects studio,

- Glenn Hetrick.
- Hey, guys.

Three-time Oscar-winning
makeup artist Ve Neill.

- Hi.
- Hi, Ve.

Gage: Talk about pressure.

I'm very familiar with Ve's work.

I have Beetlejuice,
a character that she helped create,

tattooed on my arm.

And creature designer
and director Patrick Tatopoulus.

- Hello, guys.
- Hey, Patrick.

Tate: Patrick is
one of the most talented in Hollywood

because he kind of
transcends that barrier

of effects artist
and production design.

Your Spotlight Challenge this week

was to create a human-animal hybrid

and we cannot wait to see
what you have created.

Let's get started.

Sergio: We had
an unfinished product.

There was no leg
to balance out the design.

I don't want to be sent home

on something that's not truly mine.

Sam: It's great
to see the piece done,

but I'm feeling
a little bit nervous.

I have no idea what to expect.

Anthony: Joy comes out
and opened her arms

just like Megan wanted her to.

I look over at Ve Neill,

and she's nothing but smiles.

Jo: My nerves were so on edge.

I felt like vomiting
all over the stage.

At this point I'm thinking
I'm going to go home.

Frank: I'm really confident in
how our creature turned out.

I'm not really nervous at all.

So it's just up to the judges.

Conor: I'm pretty critical
about my own work,

but I'm feeling pretty good.

I think we did the best we could

and I think we really
got a shot at winning this.

Judges, if you would like
to take a closer look.

Jo: So, of course.

Why would I think that they would look
at this thing from afar?

They got to come up close.

We have edges, intricate paint

that they're going to
have to look out.

And they are going to rip me
to shreds in front of America.

Judges, if you would like
to take a closer look.

Jo: Of course, why would I think that
they would look at this thing from afar?

They gotta come up close.

Can you turn?

Ve: I didn't realize he had
something on his hands'til just now.

Marcel: They went
into extreme detail,

Ve was running her hands on seams.

And we're all, oh, wow,

they're not joking.

Could you open your mouth a bit?

Jessica: I'm, like, please
don't turn around,

'cause you could see the bald cap.

Can you just turn
your face to the side?

Jessica: Ah, don't look at that.

Look somewhere else.

Hmm. Yeah.

Move your hand.

Ve: Let's see your hands.

Conor: The judges got to see
how well the prosthetic moved,

how well the wrinkling
actually helped sell the movement.

There's things we're just not
gonna be able to get away with.

Well, the judges have
scored your creations,

Megan and Anthony,

Sam, Marcel,

you're both safe.

Would you please
head back to the makeup room.

The rest of you
were the best and the worst.

Now, the judges would
like to take a moment

to speak to each one of you
about your work.

Frank and Tate,
would you please step up.

You two seem pretty proud
of yourselves.

You should be.

Really like this a lot.

And it looks like a lot of work

in the time that you had to do it.

My one complaint with this is that

the construction
looks a little Darth Vader-y.

Other than that,
I think it's really cool.

And it looks like you used
a bunch of different materials

and stuck to an idea, so well done.

- Thank you very much.
- Thanks.

It came out really great
and I like the way that

everything is all tied in.

I'm kind of there with Glenn
about the Darth Vader helmet,

but very nicely done, guys.

- Thank you.
- Thank you very much.

I like your background.

The background tells
me you worked in

the direction of
a '50s looking movie,

and when I got truly close to it

I forgot the person behind the mask

and to me, that's the
most important thing.

So I'm a big fan.
Good job.

- Thank you very much.
- Thanks.

Gage and Sergio, would you please
take center stage.

Where were your
responsibilities here?

I mean, who was
responsible for what?

I did the sculpture
on the face and the little tusk.

I took on the liberty of
sculpting the arm.

The arm basically was designed to be

like it was forming
an elephant trunk.

We wanted to take
the trunk off the face

and bring it down somewhere else.

Except for the actual tusk,

I don't recognize an elephant.

On the conceptual idea, it's great,

you just didn't
exercise it at the end,

and that's a bummer.

Do both of you remember me mention
the difference

between asymmetry and
something being lopsided?

- Yeah.
- Not only did you do it to the face

- But you put the arm
on the same side. Why? - Right.

I thought with the leg,
it would balance him out a little more,

'cause the leg would
have flared out.

And the leg went wrong because...

We ran polyfoam inside of the leg

and is solidified really hard

because it wasn't mixed right.

Guys, it's atrocious.

The hair work is hideous,

the paint job's terrible,

The arm is, I don't even know
what the heck it is.

I can't find anything good
to say about any part of this makeup.

I didn't go with my gut feelings,

and so I think that
I could definitely

hone that and be more
specific to my strong skills.

You should have
implemented that on this makeup

because you knew
going in that he had immunity.

We can't do anything to him.

But we can certainly
do something to you.

Conor, Tom, please
come to the center.

So, guys, I like this.

Thank you.

When I got close
to the makeup, I realized that

this is a pretty thick
animal form on the face.

When I asked him to move his neck,

I was very impressed
the way those all

worked together very well with the
expression of the actor.

And I think that's a big deal.
So good job.

- Thank you.
- Thanks.

I agree. How did you break down the
responsibilities here?

I sculpted the face,
but Tom sculpted the ears,

blocked out the nose, finished out
the hands, gave me the trunk.

Every step of this
was a collaboration.

Glenn: Very cool.

You really took
the actual elephant being

and put it on his hands

and I think that's very cool.
Congratulations.

- Thank you very much
- Thanks.

Jessica and Jo, please come forward.

What the duck happened here?

Please make me understand
who's idea this was.

We collaborated, I think.

We wanted to be more
like Vegas showgirl meets an ostrich.

There's lots of things that I dislike
gravely about this makeup,

but the bald cap thing
on the back...

That was my doing.
It was already glued onto the front.

I pulled on the back
and I got a huge tear in the side.

When you guys have
huge problems like that,

stop what you're doing
and take 5 minutes to

problem solve that together.

Silly, silly mistake, 'cause one
of you is possibly gonna hang for it.

I don't know what you guys were
thinking when you did this

but you can never put this on film.
Even for a kids' show.

Well, you would have been
better off taking a swim cap

and gluing feathers on it
as far as I'm concerned.

I wish you had a design
before you started.

It takes some time,
a half an hour, an hour,

but you have a good sense of
where you're going.

And challenge yourself
on the design.

The design is not there,
this is never gonna go anywhere.

Jessica, why do you think you should
stay in the competition?

I think I put a lot of work
into the sculpture.

The painting and
the skirt, you know,

I think I have a lot to offer.

I would rather hear that
you understand what your mistake was.

For you to battle
and defend this piece

is a little more
challenging, I think.

And Jo?

I've a lot of ambition for this.

I have a lot to offer
just learning now that

you have to have and idea,
you have to stick with it,

and you have to go
and that's something that I can do.

Do you realize now
that you made a mistake?

I want to shoot myself in the face
in front of all of you right now.

Okay.

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

The two top teams

were Frank and Tate,

and Conor and Tom.

The top team is

Conor and Tom.

But there can only be one winner.

And that person is...

Conor.

Glenn, why did you pick
Conor to be the winner?

We felt out of that top team

Conor's sculpting really
helped to pull that makeup along.

Thank you.

And I was really surprised.

I actually thought we
were gonna win as a team.

In the end, my effort
was the one that stood out.

Conor, there's something
more you should know.

Each week, the winner of
the spotlight challenge

will have a chance to
consult with the judges

as to who they think
should be eliminated.

If the rest of you would please
go wait in the makeup room

until the judges have
made the decision.

Conor, between Jo,
Jessica and Sergio,

who do you think did
the worst job on this challenge?

I'm gonna reluctantly
say Jessica because

she made the choice to sculpt

an upper and lower beak
above the mouth of the performer

and that was just never gonna work.

That's a good point.

Thank you, Conor.

You can head back
to the makeup room.

All right, judges.

It's time to begin your deliberation
on who should be eliminated.

Let's start with Sergio.
What are your thoughts?

He was quite passionate about it

and I really like to hear that.

Ve: And as you said
he does have the passion.

- Yeah.
- And I think he will

make a comeback and
show us something good.

Yeah. I, I disagree.

There's many bad things
to come from Sergio, in my opinion.

All right, what are your
thoughts on Jessica?

I need to feel that they're gonna do

something better next time.

And in her, I felt
she was giving up.

She says 'cause, well, I spent
a lot of time sculpting the feet.

Well, you know what?
The feet aren't on somebody's face

but that goofy bill was.

So she should have completed that

and at least made an
attempt to make it a complete face.

It's a close one.
I mean, I think if Jo sat back

and let it happen,
it's just as much her fault.

- I agree.
- The only thing you can look at to say

which one seems to want to fight

and get to the next level?

McKenzie: All right, judges.

Have you come to a decision?

- I think so.
- I think so, yeah.

So, judges, who's
going home tonight?

So, judges, who's
going home tonight?

Glenn: Gage, you have
immunity this week.

You better make the most
of your second chance.

- Head back to the makeup room.
- Thank you.

Serge. So far, we've seen
two looks from you.

I'm not impressed, and I don't think

the other judges are either.

Jessica, your decision-making skills

have been severely lacking.

And Jo, if you have better skills,

I don't feel like you're
showing them to us.

The person going home tonight is...

it's Jessica.

Well, thank you for the opportunity.

I know tonight I didn't meet up
to your standards.

Jessica, please head
back to the makeup room

- And pack up your kit.
- Thank you.

Jessica: I don't think I should
be going home tonight.

I should have
defended myself harder.

Runs in the family.

Everybody, come on.

I wish I could have given the world
a better chance to see my talent.

But I know in my heart that I'm good
and I'm gonna be out here making movies.

You know, I can do it.
I'm not afraid.

I'll be out here someday.