All language subtitles for Face Off - 2x07 - Alien Interpreters.HDTV.en

Previously, on Face Off...

The artists tackled
old-age makeups on triplets.

How much more difficult
could this possibly be?

Sue's realistic sculpt
took her to the top.

- And Heather was sent home.
- Damn.

Now eight artists remain.

Tonight they'll
face a challenge

unlike any other.

Yes.

I have to up my game now
or I'm going home.

Sue's sculpts suck.
I'm sorry.

I don't know what to do.

My makeup's
gonna be a catastrophe.

This is an utter disaster.

On stage
a shocking twist is revealed.

Oh, [Bleep].

I feel like
I'm gonna go home now.

Very, very inventive.

It looks like
a big Halloween mask.

What the hell am I doing?

And to make to the top,
they'll have to impress

our award-winning
panel of judges.

Ve Neill,
three-time Oscar winning

make up artist whose work
includes Beetlejuice

and The Amazing Spiderman.

Patrick Tatopoulos,
production designer

on this summer's Total Recall
and director of

Underworld Rise Of The Lycans.

And Glenn Hetrick,
cutting edge make up artist

on The Hunger Games

and custom designer
for Lady Gaga.

Who will be the next great name
in movie magic

and earn $25,000
in makeup supplies

from Alcone,

the re-invented
2012 Toyota Camry hybrid,

And $100,000.

Only one will win Face Off!

Sync and corrections by n17t01
www.addic7ed.com

Another morning,
another person gone.

I can't believe
I made it this far.

Everyone here
is a hell of an artist.

It feels great.

Oh, I just want
to hold on to this win

as long as I can.

I'm so happy
I finally proved myself.

It's very interesting
that they had

sculptural critiques for me

and they had
no sculptural critiques for Sue,

and it's a horrible sculpture.

You could never
put that on a film.

I absolutely
should have won that one.

I feel like I got my revenge.

I feel like
I shut a lot of people up.

It's that drive, being humbled

and then rising
to that occasion.

It's getting to the point
where you have to up your game

or you're the one
who's going home.

- All right.
- Yeah.

- Let's do this.
- Ha ha.

Whoo!

♪

- Whoa!
- What in the hell is that?

- Wow.
- Nice.

We walk into the lab today,

and there's
a hovering police car

and drawings.

Really elaborate pieces.

What the hell is this from?

- Wow.
- I want one of those.

- I wanna ride in it.
- Hey, guys.

Hi.

So these
incredible concept sketches

are actually designed
by our special guest

for this week's
spotlight challenge.

Ooh, nice.

There are
these beautiful sketches.

We're just stunned
by how cool these drawings are.

This police hover car
was also from the mind

of today's guest.

This will be featured
in the new Total Recall film

opening this summer.

- Yeah!
- Total Recall.

- Oh!
- Ooh.

Total Recall
is one of my favorite movies.

I love all the different mutants
and the aliens.

You'll each select
one of the drawings

to serve as the basis
for your work this week.

Which is...

To create an original alien.

Yes.

Finally.

How awesome.
I'm so excited.

So let's go ahead and bring out

our special guest--

The production designer
on the upcoming Total Recall.

Oh, my gosh.

Patrick Tatopoulos
is the best of the best.

So if he's gonna
say anything about my work,

I'm gonna listen.

Hello, guys.

Thank you.

Thank you, guys.

Patrick here has collaborated

with all sorts
of artists and directors.

Today he's going to be working
with each of you.

He's not just a guest.

He's also going
to be your client.

This is awesome.

Holy schnikes.

Patrick, he's so cool.

And the idea that
we're gonna get to talk to him

even more is really cool.

Now after you've had a chance
to work on your own designs,

Patrick's going
to meet with you

and chat about your ideas.

Okay, tell us
just a little bit about

the designs
that you brought in today.

The first one on the right

is more of
a bat kind of a creature.

Probably lives on a planet
that's got expanses

that he can travel through.

But the second one
is more obvious.

There's a bit
of a cyborg vibe to it.

The no face,
no eyes kind of thing.

It's more traditional in a way.

Third one is kind of like
a werewolfy bat creature,

yet introduce hair

which is very rare
on alien creatures.

The very last one
is also almost

a kind of a cave dweller.

There's a lot
of flying creatures in here

so the wings are going
to be something to play with.

All right, guys.

Now that you know more
about these concepts,

you're going to each need
to pick a model

and a sketch.

First up...

Matt.

Ooh, I would not
have gone for that one at all.

- Mm-mm.
- Sue.

Rayce.

Oh.

Right up Rayce's alley.

Jerry.

I'm kind of feeling it.

Ian.

Competition's on.

RJ.

Beki.

Tara.

I think I'll do this one.

Okay, so Patrick
what are you gonna be

looking for from these guys?

What I really would like
you guys to do

is bring it a little further.

That's the way
I work with my team usually.

Every artist can actually
bring something to the table.

I'm really looking for that
from you guys.

So after you've had a chance
to work on your own designs,

Patrick's gonna meet
with each of you

to chat about your ideas.

Good luck, guys.

'Cause your time starts now.

We have 1/2 hour to sketch.

The design is important
because you need to know

where you're going
and what steps

you need to take to get there.

I took Patrick's image,
put it into the program,

used the tablet
to draw what I want to change

and that's how
I design most of my makeup.

I'll take a photograph
of the person

and then just literally draw
on top of their face.

My character
is really big and scary

and this monster type thing.

I really like
the arms on this guy

but I've never made
arm extensions before.

And I'm, like,
"well, how can I do this?"

- My design, it's very bat-like
but I'm keeping it feminine.

And I'm gonna have
a big, pointed head

and giant ears coming out.

I'm nervous as heck,
it's gonna be

a hell of a challenge
to do this.

I was on the bottom last time.

I have to impress Patrick
this time.

While I'm conceptualizing
the creature,

I'm thinking about
going with a very sterile

albino look to it.

I knew that would be unique
compared to the rest

of the creations.

The creature that I chose
was a cyborg.

I liked the idea
of the tubing going on

in the picture.

And so the sculpt itself
will have tubes that go

on the face,
that come down into the body.

I feel that flipping the gender
from Patrick's male to female

will make it even more my own.

I know this
is gonna be challenging,

so immediately
I just start sculpting

and I'm trying to do this
as fast as I can.

Because I need
to get the face sculpted,

molded, and ready for foam
by the end of the day

so that tomorrow
I can have the face all done

so I can pre-paint.

Whoa!
Oh, that's cool.

You just drew that
on the computer real quick?

You crazy freak you.

I wanted to keep it kind of
where the eyes are distinct,

and I like all the appendages.

I just wanted
to bring them down,

almost like a suit.
Wow, that's a lot.

My creature's a bat
so he could be more humanoid,

not so elaborate.

Plus it's a girl-- I could
sleek her down, you know?

Ian is stressed.
Ian's always stressed.

You know,
that just his schtick.

Make her a sexy bat.

I don't want her to be sexy.
I want her to be creepy.

Then make her a creepy bat.

I'm not very good
at making very mean faces,

so it's funny--

I have to like really force it
to be mean.

These are not
the "phone home" kind of aliens.

These are
the "I'm gonna eat your face

and talk to you later".

The "you are lunch" alien.

My design
is fairly close to Patrick's.

The face is going
to have layers of vacuform

to make it look like

you're seeing through
a clear pectin.

So I'm going to go
in a b-movie monster direction.

Patrick coming over
for the client meeting soon.

I'm worried my design
is too complicated.

That is a ton of appliances.

I'm not sure
I'll be able to finish in time.

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

There's no way, dude.

- Coming up.
- Sue's sculpt sucked.

Jerry is on fire today.

- Hard as a [Bleep] brick.
- Shut up.

I think that
you've missed the mark here.

I'm so impressed.
Well done.

I can't figure out
how the hell I'm gonna do this.

I'm sculpting
a giant cowl piece

that has really broad shoulders
to get that big haunch.

Bringing Patrick's
drawings to life

is really difficult

with all of these
separate components.

I think I made my design
way too complicated.

Patrick walks in,
and I'm very eager

to make a great impression

seeing as Patrick's our client.

- Hello, Matt.
- Hi.

Tell me a little bit about it.

It just says nightmare to me
when I see this.

It's very dark.

I was thinking maybe
going completely different

and going with a light tone,
like a real sterile feel to it.

Mm-hmm.
When you work on film

and create, like,
an albino creature,

bring a little brown
and sepias to it

so it doesn't look so bright.

- Yeah, something to think about.
- Mm-hmm.

When I look
at a design like this,

it's interesting, but it looks
a little too tight.

It starts looking
definitely like a man.

You want to emphasize
that whole humpback thing.

You're gonna need mass.

Every time Patrick judges,
he always brings up silhouette.

He really liked what I did,
and he said it also

changed the profile,
just like he always talks about.

I'm definitely feeling
more confident.

What I would like to do
is create these arm pieces

that will come up out
so it almost seems like

her arm is powered
with something.

Got you.

Yeah, like
almost blackish colors--

- Yeah, right.
- Coming up and around.

What I'm really working on
is what I'm gonna build,

how I'm gonna build it
with the time allowed.

So, yeah, tell me.

I'm gonna give him some jeans,

that fell down a shaft and--

- Turned into--
- Somehow fell into something.

Good, that sounds exciting.
I love that.

I kind of like this idea
of this red character

with some of these, you know,
just some browns and some grays.

Yeah.

What do you like about this?
What's inspiring you?

You know what's kind of fun
is that it's a really mean face,

and I don't really
do many mean faces.

So I decided that he's an alien
that's living on the street

as a man,
and he's transforming.

There's gonna
be a lot of fabrication.

I found these in the back
and I'm, like,

it would be pretty cool
to somehow extend the arm,

- just starting from here.
- I like that, and you know,

you have that choice

because those hands
are not very human,

so you can make those claws
much simpler.

Patrick loves the fact
that I'm gonna try to do arms.

He thinks if I pull this off
it'll look really great.

Hopefully it'll work.

I'm a little slower
than most people at fabrication

so I'm just gonna
stick with the head

and I wanna spend more time
on the costuming.

I see.

If we went in
and started drawing

on top of this
and came up with something

like a dinosaur kind of thing

coming out
of the top of the head.

Yes, expanding
the head and face.

Yeah, yeah.

Thank you very much.
I appreciate it.

All right, good to see you, RJ.

I designed this creature
that has all these spikes

coming out
of the back of the head.

So for day one
I need to figure out

how I'm gonna do this.

So I'm making
plastic spines first

because I have to see stuff
on my sculpture

and see the whole picture
before I start sculpting.

So at least I know
that I have something.

I start to try
to make these arms really huge,

and I think
that would really add

something cool
about this character.

God help me, I hope this works.

You so crazy, girl!

I know, I know.

I don't know why I chose a bat.

Ian is very insecure
with his talent.

He second-guesses himself
all the time.

I'm just trying to figure out
what my niche is gonna be,

'cause everyone's
got some bad-ass thing going.

Ian's worst enemy
is his own insecurities.

I really hope
he can learn to get over that.

The front
of my head mold is huge.

I'm being very ambitious.

I need somebody
to smack me in the head

next time
I make a big sculpture.

The X factor
isn't even on there yet.

The one thing
I have up my sleeve

are these spines.

Because no one else
is doing so much applique work.

I'm a little worried
for Sue because she's spending

a lot of time just on the head

and she's counting on the
intricate little nail details

to really pull it out.

I'm just worried
that it's not gonna be

conceptually strong enough.

Look how cool he's gonna look.

Wait, how are you
gonna do all that?

I'm not.

I ran out of time
on the last individual challenge

and now I'm planning
on doing four more pieces?

And there's a part of me
that's, like,

"what the hell am I doing?"
You know?

Sue's sculpt sucked, I'm sorry.

It was-- It was awful.

We're in the mold room,
and everyone was stressed out

but Jerry is definitely
on fire today.

Some people have obviously
been sculpting for 20 years

and some have been
sculpting for six months.

I don't know why Jerry
is so degrading of Sue.

I was shocked
that I was criticized

on parts of my sculpt
and Sue wasn't.

For Jerry to say that

he should
at least win something...

Especially if you have
the most experience

you should
be winning everything.

I shouldn't say it sucked,
I should say

it's too cartoony
and Halloween for my taste.

God bless him,
but don't degrade someone

because
you're feeling threatened.

Hey, guys.
Time's up, that's it.

Time's up?

I've got a lot
of mold making to do tomorrow.

I'm a little nervous
about that.

I've never made
such a big foam piece.

I'm really curious to see
how it moves and comes out.

Today's second day in the lab

and we only have ten hours
to do a full creature.

That's no time at all.

We walk into the lab,

and the first thing I do
is check on the arms.

Oh, [Bleep].

I open them up
and, ugh, it's all pieces.

The mold didn't fill up
the way I wanted it to.

Well, that didn't work.

- Well, that's a [Bleep] bummer.
- Yup.

It wasn't just a lite bit.
It was an epic fail.

It's not even together at all.

It's just bad.

The arms are
the most important part

of my makeup.

I'm 90% sure I'm going home.

Oh, no.

Well, that didn't work.

First thing I do
is walk in and go check on

the arm situation,

and I open them up,
and, ugh, it's all pieces.

Well, that was
a long shot anyway.

I was worried about the claw,
and sure enough

the mold didn't fill up
the way I wanted it to.

So next thought is
I can make the arms again.

But I'm not sure
if I'm going to have enough time

to get them sculpted and molded

before the end of the day.

Once you're sculpture
is done, you need to mold it.

The mold will capture
all the information

from your sculpture.

I need to get
the face prosthetic molded

and the entire back of the head
by the end of today.

Nope.

Yeah, [Bleep] it.

I go back to check on the mold,
and I can see

on the inside of the pods
that the neck is cracked.

At this point,
it's just too late

for me to run
this piece in foam.

So I decide that I'm gonna
run it in polyfoam,

which dries very quickly

but it's not as flexible
as foam latex is

because there's no latex in it,
it's just the foam.

What are you
gonna do with that?

It's his arm extension.

But I mean what
are you making it out of?

- Polyfoam?
- Oh, yeah.

It's what I have,

so I figure
it's better than nothing.

And it's actually
coming together.

And then all of sudden,
the mold collapses.

Oh, my gosh,
this is an utter disaster.

Fail.
Epic fail.

What happened?

The mold just fell over
and collapsed.

There's no point in trying
to rescue that any further.

It's-- it's gone.

I've lost the fight.

My creature is not
gonna have arm extensions.

Okay, guys!

Time!

Today is application day.

We have four hours
for application

and then an hour of last looks,

which is terrifying.

Yeah, it's beautiful.

- Hi, I'm Sue.
- Linda.

We got a, uh, albino alien

cave-dwelling creature.

This is the most
I've ever done--

Had to do in a four-hour
time span.

It's about eight pieces,
and it's a full body paint job.

I am worried,
but it has to get done.

- You're gonna be like this.
- Okay.

Except you're gonna
have spikes everywhere.

Okay, cool.

So you're gonna
be really dangerous.

- How are you doing today?
- I'm good.

- Good.
- How are you?

I've been better.

This piece did not
come out at all.

Immediately I can see
both ears are missing.

They didn't fill.

My edges are really thick.

It's got a huge tear
from the shoulder to the neck.

It's [Bleep] up.

Salvaging it is gonna
take most of my time.

It's comfy.

- It should-- Yeah.
- You did a good job, Jerry.

I feel great.
My pieces are all done.

It's just a matter
of putting them on and painting.

Oh, there we go, there we go.

All right.

♪ I don't know what I'm doing ♪

I'm trying to go for speed today
so I have enough time to paint,

because I don't have arms

and I don't have much
cool craziness going on.

So I'm slapping those things on
as fast as possible.

How'd your stuff come out?

That head dried up
hard as a [Bleep] brick.

Shut up.

Because of its rigidness now,
it's not fitting properly.

Damn, it's stiff.

I have to figure out
a way to attach a strap

to the inside of this thing

so that it will actually
stay on him.

The other thing about it is
I can't attach the face

without attaching
the back of the head.

I can't attach
the back of the head

'cause I can't force him
to sit in that all day.

That means the face
and the head are just gonna

have to wait
until the last looks.

It'll look like a scar.

- All right.
- But it won't look like a tear.

- All right.
- A scar is fine.

I'm doing everything I can
to hold this thing together.

I take the ears
that are torn off

and I glue one back on.

And the other one
is just not salvageable.

So it's gotta be
a wound or something.

As long as I can
get the front looking decent,

it'll be okay.

Getting that cowl on her,
patching it and seaming it...

Took over three hours.

We only had four hours
to apply the makeup.

It's gonna be a hell of a feat
if I pull this off.

I'm realizing that
time is running out.

I still have to start
applying the nails.

And at this point,
I can't get my original design

with having these
extra spines out.

Take a deep breath.

My model is starting
to get painted up and I'm, like,

"aw, crap,
he needs some claws."

I don't know if I'm gonna
have time to do two hands.

Here I am just still sitting
on the floor

playing with friendly plastic.

Give me your hand.

I'm worried,
but it's gonna pull together.

This is what I do.
I'm gonna make it work.

It's gonna be okay.

All right, guys!
Everybody, time's up!

Done!
Put 'em down!

Time's up.

I've been in situations
like this before

and somehow pulled it off.

I still have
a lot of cool pieces

so I'll make something cool
out of them.

Coming up...

The head sculpt is amazing.

Geordi Laforge, I love you.

Looks like
a big Halloween mask.

I feel like
I'm gonna go home now.

This is a stellar makeup.
It's very cool.

We have hour left
for last looks.

Most people have an idea
of where they're going

with theirs--
I don't have a clue.

Plus more problems
keep coming up

like where the cowl ends
and my model's skin begins.

It tore right here.

I have to put cotton there
and blend it.

I know I have very little time

to do all the finishing touches

so I'm gonna impress
the judges with the paint job.

That's time, everybody!
Stop your work!

Ugh.

- Oh, damn.
- No!

Well...

This is not what
I had envisioned at all.

Welcome to
the Face Off reveal stage.

Say hello to your judges.

Owner of optic nerve
makeup effects studio,

- Glenn Hetrick.
- Good evening.

- Three-time Oscar winning
makeup artist, Ve Neill.

Hi, everybody.

Creature designer and director

and your client this week,
Patrick Tatopoulos.

Hi, guys.

And joining
our panel this week,

he's a producer and director

with an incredible array
of awards

including a Peabody,
a Grammy, 13 Emmys.

But he's perhaps best known

for his starring role
as Geordi Laforge

in the Star Trek franchise.

Please welcome
my friend Levar Burton.

Yeah!

We've got Levar Burton
hangin' out.

Geordi Laforge, I love you.

Thank you.

It's Geordi Laforge.

It's great
to have you here with us.

Great to be here, thank you.

All right, so this week
your spotlight challenge

was to use one
of Patrick's concept sketches

as the basis
for an original alien.

Tonight, we're
going to be doing things

a little bit differently.

I'm thinking "what now?"

Two of you will be eliminated.

Oh, [Bleep].

What?

Now I'm scared to death.

I thought there was
a possibility of me going me,

and now that's
double that possibility.

I'm really worried now.

So let's see
what you've come up with.

From far away the face
looks so strikingly different

from the rest of the body.

I'm realizing that,
wow, it looks like

I almost did nothing.

All the tubes
silhouetted nicely.

I'm very proud of myself today

for pulling off something
so elaborate

in a very small amount of time.

I think I pulled off
the paint job.

It's not too weird.

And I love the way
the red looks

because it really stands out.

I botched the paint,
but if I were to grade

my makeup on the time given...

Seven?

So many points of that makeup

I was gonna give up.

It was unsalvageable.

But if I go home,
you know what?

It's been a good run.

I feel really great
'cause I've accomplished

what I wanted to do.

It sticks out,
it's exactly what I envisioned.

As my makeup comes out onstage

I'm really happy
with that silhouette.

That's what I promised Patrick
and as far as I'm concerned,

I delivered what
I promised my client

I would deliver.

As my makeup walks out I think,

"ooh...It's looking flat."

I made sure
to make the skin match

and I was really proud of that.

But then the contrast
just wasn't there.

Judges?

Why don't you
take a closer look?

Wow.

Could you turn sideways
for us, just stand in profile?

I'm nervous as hell.

It's hard to tell
what the judges are thinking.

I really wish I knew
what they were writing.

Try to open your mouth for us.

- That's it, that's it, yeah.
- Nice mouth.

Kind of already there,
isn't it?

It's just silver paint.
That's cool.

Pretty good move on the mouth.

Yes, it is.
Interesting fissure,

you know, the way
this is broken up?

Yeah, that's cool.

This one is seeing
the bottom lip.

There should have been teeth.

He's this toothless
green gremlin.

Without the teeth
I don't have a fighting chance.

The judges walk up,
and I feel awful.

This one is seeing
the bottom lip.

There should have been teeth.

I would love to be confident
in myself

but without the teeth
I don't think

I have a fighting chance.

What do you suppose
all this is-- The chunky stuff?

That must be just something
he mixed up.

Hmm.

It's too bad
he didn't soften the color.

His color is terrible.

Yeah, he should have
softened the color.

- Can you see my hand right now?
- No.

- How about now?
- No.

He won't be doing stunts
in this outfit.

Yeah.

I couldn't see anything
in the visor either.

I like the fact
that it's that dark red color.

That's nasty.

I like the liquid tubes.
That's pretty cool.

Yeah, I like that.

They're examining everything.

I don't think mine's
the worst one up there,

but unfortunately
you see the hands.

She didn't do anything
to her hands.

Nothing to the hands.

I'm really worried.

I feel like
I'm gonna go home now.

So Levar, you've seen
a lot of alien makeups

in your time with Star Trek.

How do you think they did?

I have to say
that the quality of work

is really impressive.

Especially given
the amount of time

that they had to do it.

Great.

Well, the judges
have scored your creations

so let's hear
what they thought.

Beki.

Matt.

You are both safe.

Will you please head back
to the makeup room.

- Thank you.
- Good job.

The rest of you
were the best and the worst

of this week.

So the judges would now
like to speak with each of you

to learn more about your work.

Rayce, you're up first.

Tell me a little bit
about your approach here.

The original sketch
had a lot of tubes coming out

so I decided to fuse them
onto his skin,

almost like
it was crawling on him.

That is an absolutely
impressive amount of sculpting.

To have accomplished
in the time that you have.

And it's not just
the amount that you did,

it's the fact that
your symmetry is so tight.

- I'm extremely pleased with it.
- Thank you.

I really liked this.
It's really kind of organic

and very superhero-like.

- Really well done.
- Thank you so much.

The design
was more complicated,

there was a lot
of little forms on there

that were not really necessary.

And I'm glad you take them off.

It's much sleeker.
Fabulous work.

Thank you so much.

I was really impressed
by the eyes.

It was a very unusual treatment.
Very, very inventive.

I really appreciate it.
Thanks, guys.

Okay, Rayce.

Sue, you're up.

I think it was
really clever that you

took all those fake fingernails
and stuck them in there

as a quill-type thing.

But I'm really disappointed
that you actually did nothing

to her hands,
not even paint them.

You need to think about
when you have a design

of a full creature like that
to not concentrate on one part

and super detail it,
because as a design thing

it's the biggest mistake
you can make.

You forget there
is a bigger picture out there.

I've gotta tell you,

I think that you've
missed the mark here.

And it has to do with anatomy.

I don't see enough
of the essence

of Patrick's design.

It reads monkey to me.

All right, Sue,
please step back.

Jerry.

- Ve, let's start with you.
- Okay, Jerry.

You chose these colors why?

I like them.

Well, I think that might
have been your biggest mistake.

It just looks like
a big Halloween mask to me.

For me I think your
color choice indicates aquatic.

The wings, the fins,

all of that
really said fish to me.

I feel that's
a little limited...Creatively.

Like, I'm not gonna do
water, blue, demon, red.

It's just not gonna happen.

I think you have to really
take into consideration

the frames of reference
for the audience.

The makeup failed for me.

Even though I think
that you had a good idea,

it's not the paint for me
on this one.

All right, Jerry, thank you.

Ian, you're up.

How do you think that you did?

- One to ten?
- Overall I'd say five or six.

I disagree.

I think much higher.

I think you're selling
yourself short this week.

Heh.

I actually think
this is a stellar makeup.

Particularly
the color combination.

I love what you did
with the paint.

I'd actually love to see
a version of this makeup

where you had weeks
to work on it.

- Wow.
- It's very cool.

- Thank you.
- Well done.

I have three words
for you, Ian.

Awesome, bitchin', and groovy.

Thank you so much.

You took my design
as an inspiration

and you made a design
that's about ten times

as good as mine,
that's the way I feel.

The wings are your design,
they were not in the drawings.

That's one of the best part
of your makeup.

Thank you.

This makeup tells a story

without even saying anything.

The chewed ear--
and I'm so impressed

with the accentuation
of the shoulders.

Incredibly bat-like.

Well done.

Thank you so much, everyone.

All right, Ian, thank you.

Thank you.

RJ, you're next.

RJ, I want to say
you took the design

and really got
to another place with it.

I wanted you to do that,
and I think that's great.

Now, those big arms
feel a little bit

out of proportion.
They may be a little bigger

than they were on the drawing.

But you've got
a very cool face going on.

The mouth
is functioning beautifully.

Thank you so much.

I think that
the head sculpt is amazing.

The back of it reminded me
of a Mayan temple.

It's interesting
architecturally,

you get a real
clear sense of anatomy.

I really love it.
Excellent job.

Thank you.
Wow.

Thank you, RJ.

Tara?

Well, I'll start off
by saying he was supposed to

have some arm extensions

and then at the last hour
it toppled

while I was molding it.

What's going on with the mouth?

What happened there?

Um, I did make teeth as well.

- Uh-huh.
- And...

When he'd open
and close his mouth

they were hitting his lips,
so at the last minute

I ripped them out.

I think you
second-guess yourself

when it comes
to decision making.

It is about time management.

Without the arms
and without the teeth,

I'm not sure
what your design was.

The idea was
that he was an alien

hiding out on earth as a human.

He was transforming.

I don't see it.

When you have
an incident like that

and you lose something
that's a very specific,

iconic part of the creature,

what you need to do
is bring something else

to the table
for the client to react to.

Tara, thank you.

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

If you would please
head back to the makeup room

while they
make their decisions.

All right, guys,
so let's talk about

some of the looks
that you liked the most.

Let's start with Rayce.

It was really sleek,
it was really sparse.

But it had
a lot of detail in it.

His paint job is also bringing
this whole thing together.

Oh, yeah, it really
pulled it all together.

- I mean, you could shoot that.
- Yeah, absolutely.

- That was camera-ready work.
- Yeah.

All right,
so let's move on to RJ.

What I did like about RJ
is that he tried to do it all.

I agree.

I really do dig the head.

- I think it's interesting.
- Yeah.

It kind of looks like
a dinosaur going into battle

ready to strike.

Okay, let's move on to Ian.

He spent all that time
with all the veining

and making it look really
natural and really skin-like.

He did not leave any aspect

of this makeup unattended to.

- Very cool.
- All right.

Some of the looks
you liked the least.

Sue started a great makeup,
and she stopped.

Next to Ian,
Sue's work really paled

by comparison.

I don't see
Patrick's design there.

Yeah.

All right,
let's move on to Tara.

It feels to me
like this creature

lost its arms, lost its jaw,

but she didn't reinvent I.

I mean, she didn't
even fight on stage.

She was, like,
"yeah, I know."

I don't know why
she ripped the teeth out.

If the guy wasn't bleeding,
why'd you rip the teeth out?

All right, let's discuss Jerry.

There's a huge issue
with Jerry.

He was unable to deal with
criticism from the clients.

Fighting back is not
the way you do business.

You can't do that.

Jerry's just not
executing any of his makeups

with the passion
and the level of detail

that I'm looking for.

It just seemed sloppy to me,
like he just doesn't care enough

about the details,
about making something pristine.

All right, judges, have
you made your decisions then?

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

- We have.
- Let's do it.

Let's bring them back out.

All right, Glenn,
why don't you tell us

about the top looks.

The top looks tonight are...

Rayce.

You did a remarkable amount
of quality work

with awesome symmetry
and great organic design.

Ian.

For a cleanly executed vision
that transcended the design.

And RJ, a bold extension
of the core elements

of Patrick's design,
while still maintaining

and making it your own.

All right, who is the winner
of this challenge?

Tonight's winner is...

All right, who is the winner

of this challenge?

Tonight's winner is...

Ian.

Everything about your character

worked really well together.

And your paint job,
from the colors to the way

that you applied it,
was excellent.

Thank you.

- Ian, congratulations.
- Thank you.

Patrick actually
has a surprise for you.

Congratulations.
You really impressed us tonight.

And we thought
you may be interested

in getting a couple of tickets
to the premiere of Total Recall,

and I'd love to see you there.

Oh, my God.
I would love that.

- I--I wanna go.
- Wow, thank you so much.

- Wow.
- Cool.

Pushing through and surpassing
my expectations, it feels great.

I think I'm starting
to actually believe in myself.

- Wow.
- Congratulations.

You can head back
to the makeup room.

Thank you very much.

RJ, Rayce,
you are also both safe.

Please head back
to the makeup room.

Unfortunately, that means
the rest of you

are in the bottom this week,

and two of you
will be eliminated.

Will you please step forward.

Glenn, tell us about
the bottom looks.

Tara, you suffered
from poor time management,

and your
decision-making skills

let you down from the start
this week.

Jerry.

Unfortunately, your painting
was the fatal flaw for you

this week.

And Sue, you spent too much time
on your face sculpt,

neglecting the rest
of the body.

So who is the first person
going home tonight?

The first person
leaving tonight...

Is...

Tara.

You're very talented,

but need to learn to trust
your gut.

Absolutely right.
Thank you.

I'm going home.

I understand.

I feel like I dropped the ball
a little bit

the last couple of challenges.

Oh, I wanna hug you.

All right, Glenn,
who is the second person

leaving us tonight?

The second person
going home tonight is...

Jerry.

You had a good design.
We just couldn't get past

the way that
the paint was applied.

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

It's been great
having you here with us.

Will you please
head back to the makeup room

and pack up your kit.

- Good luck, Jerry.
- Thank you.

I don't agree with it.

But I'm okay with it.

I go home.

Unfortunately,
because of my background

of my portfolio, there were
certain expectations.

And I did not live up to those...

My first * is and always will be
special effects and monsters and

movies and all that kind of stuff.

I'm excited to go out with
more confidence and

make the career go on *.

Sync and corrections by n17t01
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