All language subtitles for Face Off - 3x09 - Junkyard Cyborg.HDTV.CRiMSON.en

Previously on Face Off...

The artists reimagined
classic Dr. Seuss characters.

Oh, my God!
I'm excited.

Nicole's whimsical creation

brought her to victory,

and Alana was sent home.

Now, only five artists remain,

and tonight, the artists
draw one step closer

to the finale in their most
rugged challenge yet.

Welcome to the junkyard.

Yeah, I like this one.

I love all of this!
I want it all.

Fuck.
My mold just starts cracking.

It's just broken pieces
of rock.

I'm not seeing happiness there.

All of a sudden, my model
just walks up and leaves.

Did that just happen?

On stage,
their work will be judged

by a Hollywood
producing legend.

I don't think you achieved
your objective.

It's a really strong concept.

I don't think you succeeded.

This could mean the end.

In the end, only one

will win the opportunity
to be a guest lecturer

at Make Up Forever's
academies in New York and Paris,

a new 2012 Toyota Prius V,
and $100,000.

And for the first time ever,
America,

your voice will be heard
in selecting the winner.

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

How do you feel
about winning last night?

Uh, awesome.

It's a very, very surreal
feeling.

I was eliminated.

I was done.

I ruined my opportunity,

and I'm here in the final five?

It's, like, half the house
is gone now.

- It's more than half.
- Oh, my God, it is.

- We-- we started with 12.
- Yes.

That feels even better.

It does.

Last five.
Two more challenges

- till the finale, right?
- I suppose.

Alana gave me this scarf
last night...

- Oh, she did?
- When she left. Yeah.

- Oh.
- I'm gonna miss Alana.

She and I have become friends,
and it's just weird

that it's slowly
getting less and less.

The house is much quieter.

Alana couldn't
come up with nothing,

and that's what got her.

I'm afraid to have
another challenge like that

to where it's like,
"oh, my God, what do I do?"

I had a good feeling
that I would get this far,

but I think from here on out,

it's gonna be harder
for everybody.

The judges are gonna
get more critical,

and I don't know
how this is gonna end up.

I'd really like
to not be on bottom again.

I'm getting tired of it.

So we're
at our next spotlight challenge,

and we find
that it's a junkyard.

I'm really worried that
we have to do some kind

of fabrication challenge
or something really crazy

or-- I don't know
what to expect from this one.

- Good morning, guys.
- Good morning.

- What do you think?
- Confused.

- It smells.
- Yeah.

Welcome to the junkyard.

From Terminator to Robocop,

some of cinema's
most iconic characters

were born from the merging
of man and machine.

- Ooh.
- That's right.

This week's spotlight challenge
is to create

an original cyborg character.

- All right.
- Awesome.

- That's great.
- Oh, my gosh! That's cool.

- Yeah.
- I'm stoked.

I've loved Terminator
since I was little.

I mean, frickin' Sarah Connor
is my role model.

You must source items
from in and around the junkyard

and incorporate them
into your final makeups.

I like this one.

I'm really looking forward
to this one

'cause this is something that's
gonna be more up my alley.

There are shopping carts
for you to really help you

get in there
and pull out some great stuff.

So go ahead, grab your carts,

fill it up
with whatever you need,

then head back to the lab
and get started.

Your time starts now.

We got 30 minutes,
so I just take off

and start exploring.

It's like a grocery store
for parts.

These are heavy.

I'm just trying to find, like,
cool things that inspire me.

Hmm.

I definitely don't
have a concept yet,

but there's a couple pieces
I really like,

and the rest is,
like, oh, you know,

we'll see what I can
put together.

I love all of this!

I want it all.

I see a middle console
for a car,

and the first thing
that pops in my head--

"that would be a great
spine piece.

I can build off
of that."

Cool.
I'm, like, really into this.

I know I need something big,
'cause I want

to do one big accent,
maybe on the arm or the leg,

and then the rest
is just, like, anything I think

that looks cool.

I don't really know a lot
about cyborgs, actually.

I did grow up Mennonite,
and my mother

was very specific
about things we were allowed

to watch when we were younger
and growing up.

I've seen two
of the Terminator movies,

but that was a long time ago.

- I like these.
- Ah, let go!

All right, guys, it's time.

Let's go.

Time's up, and things
start falling into place,

so I'm excited just
to get back to the lab

and to start
putting everything together.

Whee!

We get back to the lab
for model selection,

and I already have in my mind
that I want somebody big

and somebody that's gonna
carry off my mechanics.

And the first thing
I do is sketch out

the general idea for my cyborg.

My concept
is a post-apocalyptic soldier.

He's juiced himself up
to fight the war.

I actually start
getting a little nervous

because this
is a little too predictable.

There are a few parts in here
that I'm planning

on cutting up
and maybe vacuum forming.

I need to probably think it out

more thoroughly in my concept.

I think about 90%
of what I got at the junkyard's

gonna be incorporated
in some way or another.

My concept
is C.O.R.E.,

which is a Cybernetic Organic
Regeneration Accelerator,

and it was developed
for the military

as a medical device.

And unfortunately, instead
of regenerating the tissue,

it actually
reanimates the tissue.

So that turns my character
into a zombie.

I started making the arm
and leg extensions,

and I decided to vacuum form it

because these things
weigh 20, 30 pounds each,

so there's no way that my actor

can carry those
on his shoulders.

It ain't gonna happen,

so the only way to do it
is to take it

and vacuum form it.

I don't know what almost
any of this stuff is.

I'm a little nervous
'cause people

are sculpting
and making things already,

but I don't really
have a concept.

I'm sculpting
one facial prosthetic.

I don't want
to do a typical cyborg.

I kind of want my concept
to be a future soldier

that has been injured in battle
and badly burned

and needs cyborg parts
to survive.

I really love
this weird-looking thing

with the cables
coming out of it.

I think I'm gonna work it
into the chest

and have this kind
of on top of that.

- That looks cool.
- Thanks, girl.

I think that your character
and my character

are gonna want to date.

- 'Cause they're rusty?
- 'Cause they're sexy together.

- They're sexy?
- I want her to be

basically this,
like, cyborg princess

from another planet,
elegant and tough.

I have a mechanism on her eye

which has all different types
of plugs

so, like, she can
hook herself up

and, like, through her eye,
like, have different types

of, like, way of seeing.

At this point,
I just start sculpting.

Well, everybody's
going really big,

so I'm trying
to go a little smaller.

Yeah, but it doesn't matter
what you do.

It's just if you do it, like...

- If you do it well.
- Do it well.

Yeah.

At the junkyard,
I found this tubing,

and it looks pretty cool,

and even though I'm
second-guessing my concept,

I want to incorporate this
in the facial sculpt somehow,

and I think,
"well, it would be cool

if I had the tubing coming
from under the neck

and then wrapping around
and coming down the side."

So my face
is pretty much done...

and it's coming down
to the wire.

If I want to get this out,

I need
to get my face molded asap.

I'm sculpting the face,
but I still keep

latching on to wires.

It's just not a big concept,

and I'm having a lot of trouble

coming up with something else.

This is another challenge
that Sarah doesn't know

what she's gonna make.

I have some pieces
on the neck that I like

with these wires coming in
and out of her.

I don't know
what the hell the wires are for.

I just can't figure out
what to do.

And I don't like any
of the pieces I have, really,

except for my wire, either.

I'm nervous
because it's really down

to the, "make one mistake,
you're going home."

Coming up...

My mold just starts cracking.

It's not my favorite.

Dang, you could put her

in front of a camera right now.

This is another challenge
that Sarah doesn't know

what she's gonna make.

For this challenge, we are
supposed to take inspiration

and physical pieces
from the junkyard

and create a cyborg,

and I just can't figure out
what to do.

I don't know, and I don't
like any of the pieces

I have, really,
except for my wire, either.

- Just keep working on it.
- Yeah, I'm going to.

I really like my wires,

so I decide she
was in the military

in a coma
for a really long time,

and then the military
decided they were gonna start

testing on her,
and she doesn't know

what's going on, so she's kind
of ripping the wires apart.

I have to get this mold
cleaned out today

and get it ready to run
in foam,

to let the clay sit overnight.

It's gonna harden,
and it's gonna be so much harder

to try to clean it out
the next morning,

so it's kind of crucial.

15 minutes, guys.

Now, I'm scared.

So I'm outside,
working as fast as I can

to get this cleaned out.

If any clay is stuck in it,
it's gonna change the form

of the face
when it's casted in foam.

- Good luck.
- Thanks.

You could have clay stuck
in one of your edges,

and then you
have this big edge.

It's a very scary moment.

That's time, everybody.

I have it down
to the last second

cleaning it out,
and got it in the last second.

I made it work.

So it's day two.

We've got ten hours
in the lab today,

which isn't really
that long of a time.

I still haven't figured out
how I'm gonna mount these arms.

I'm not even sure how I'm gonna
mount the spine piece,

and then I got to thinking,

"gee, I wish I had
some football shoulder pads."

That's one thing that my dad
always told me

is, like, you know,
if you don't have what you need,

but you got stuff
to make it, make it.

So I find the heaviest plastic
that I can,

and I can actually
take it and use screws

and bolts and rivets.

That way, it slips
on almost like a jacket.

At the beginning
of the second day,

I'm very nervous
because at this point,

I still don't like my concept,

so maybe I should try something
a little bit different.

- You startin' over?
- No, no.

I'm just, uh,
doing a new concept.

I'm thinking Metropolis.

I'm thinking 1900s movie,

it's still kind of
in the future,

but it's a dark future,

and it's almost
like the new form of tattoo.

You know, instead
of getting tattoos,

they're getting robot arms
attached to themselves.

But yeah,
I should be molding right now,

and I've still got a lot to do.

You should
be molding right now?

Ha, ha. That's funny.

Hey, Laura.

- Yes?
- Do I look any smarter?

Mm, nope.

Damn.

Oh, I had it on backwards.
That's why.

Hey, guys.
I am here with Glenn.

We're gonna do a walk-through
and see how you're doing.

I'm excited to see
what Glenn has to say.

I'm a little worried.

This is my sketch.

So she's gonna be,
like, a cyborg princess.

There's, like, a war going on,

and she just rips the front
of her dress off

and puts on her, like, war gear,
and she goes out to battle.

Let me ask you.
Where is this coming from?

I thought,
like, a robot under-skull.

- It wouldn't be very round...
- Mm-hmm.

And so I wanted
to show some of the structure

underneath that's more pointy.

I'm liking the direction
it's going in a lot.

- Very cool.
- Cool, thank you.

What are you pulling from?
What are your sources

of reference in your mind?

- Um...
- Star Trek, is it--

- That's the problem.

Well, I don't
have a lot of references

in my head for this.

I've only seen, uh, I think,
two Terminator movies.

You want to get that off

and figure out the fundamental
form of that piece.

- Okay.
- Don't just come in

with this flat thing
with wires glued to it...

- Okay, okay.
- And you're running

- out of time.
- I know. I agree.

My concept
is a zombie-type cyborg

with exposed brain
with the probes coming down

from the top into the brain.

I'm actually
thinking arms like this.

So that would then-- you get
that extra-- that really weird

tentacle movement
out of the hands.

Okay.

I'm not seeing happiness there.

It looks like, you know,
the box robot

that you can be in third grade,
covered in aluminum foil.

That's what that looks
like to me,

and it's a shame because that
is working out so well.

I encourage you to figure out
makeup applications.

Get that zombie aspect across.

Okay.

Let's see
what you got goin' here.

Well, that's what
I had going...

And then I was like,
"oh, that might

be something
that we've done before," so...

So you're not
doing the post-apocalyptic?

No, changing it
into a more modern Metropolis.

This guy keeps
souping himself up

just like you would a car
or a house.

Well, I like this idea
that you're doing something

different from everyone else,
and it can work.

- Mm-hmm.
- I'd have to see it.

Glenn seems a little unsure.

I just don't know
what else I'm gonna go with.

Wow, tell us
what you got going on here.

He's pretty much a human
that was badly burned,

and the military kind
of put all these pieces on him

to keep him alive.

This is a very,
very strong design.

- Yeah.
- It's really a matter

of how you execute this.
Will there be a light here?

I don't want to
just 'cause I don't think

it will be easy for him to see
because of the glare.

- Mm-hmm.
- It would be cool.

It really would.
I would definitely

put that pop in there
if I were you.

Cool, cool.

Okay, so, Glenn,
how are you feeling?

Very excited.
It looks like they

drew so much inspiration
from the junkyard,

and they did a great job
at honing in on things

that will bring a lot
of production value

to the makeups
that they're doing.

All right, is there anybody
that you are really

afraid for this week?

I'm definitely
most worried about Sarah.

Just that where we're at
in their build right now,

she's got a long way to go

to get her ideas
working for her.

Yeah, and anybody
that you think is really

coming out on top so far?

I'm really excited
about Nicole's idea.

It's a very fresh take
on the cyborg.

I'm also liking Derek's.

Right now,
he's in such good shape.

There's a bunch
of small decisions

that he has
to make the right call on

between now and stage,

and hopefully, he'll do it,
but that's exciting me, too.

All right, guys,
we're outta here,

but it's looking good.

- Thanks, guys.
- Thank you.

I'm looking over,
and Roy is making

this gigantic fabrication.

So I realize, "oh, gosh,
I haven't gone big enough."

I decide
to make an engine backpack

that powers his arm,

and I'm not 100% educated
on engines and cars,

but it
is incredibly intimidating

when you see somebody
doing that well.

I've got my face molded.

The next step is to get it open

and clean out the clay,
but--

Fuck.

My mold just starts cracking.

Everywhere where I try
to pry it open, crack...

All around the whole mold.

I'm pretty worried.
If it just falls apart

and cracks, it's gonna
be just broken pieces of rock.

I'm trying to open my mold up,

and it just starts cracking.

Everywhere where I try
to pry it open, crack, crack.

I'm really worried
that this whole thing's

gonna crack open like an egg.

Fuck.

I finally get it open,
and there

are cracks in the mold.

It cracked everywhere.

I'm really worried
that the cracks

went all the way
through onto the face.

This is the important part,
so that didn't really crack

except for right here,

but it's just a thick part
on the ed-- outside.

It's gonna be like a mask
that's been put on him,

and it has a lot
of dents and scratches,

so I could incorporate that.

I'll make it work.

- Eh.
- What's wrong?

I'm trying
to figure out what I'm gonna do

with these breastplates,
if I'm gonna make 'em

out of foam,
or if I'm gonna make 'em

out of something else.

I'm messing around with all
the vacuum form plastic,

trying to melt it down,
trying to form it with my hands,

and it's not working.
So I decide

I'm gonna sculpt out
what I want the metal pieces

to look like in the clay.

I vacuum form that.

I see a little boob.

It's a boobie.

I like the way it turns out.
It's got a great shape to it.

So I'm glad I went
with the vacuum form route.

I just don't know
what anything is.

I feel weird using it.

I'm obviously very behind,

and I still want
to do the chest piece.

So I've got
to get it sculpted, completed,

molded, and ready to go
by the end of the day.

That's a lot,
and then I still have

to attach all the wires
on application day.

- I like it.
- Okay, cool.

I get my sculpt done.

I do the fastest mold ever,

keeping really close eye
on the time

because I have
to really plan it down

to the minutes.

And now, to cleaning.

Got about ten minutes
left, Sarah.

All right, that's it.
Time's up.

I know that mine's
really simple

compared to everybody else's,

but I'm happy
that-- that it's done.

So today is application day.

We have four hours
for application

and then one hour
in last looks.

I'm still not 100% sure
on the concept,

so I have a lot of choices
to make today.

How are you?
Have a seat, my dear.

- How are you doing, man?
- Good, man.

This thing has,
like, two little hydraulics

that come from up here.

My idea is
to have two hydraulic pistons

that go this part down
to the jaw,

that operate the jaw.

That's who you're gonna
be today.

Sweet.

Well, the first thing
I got to do

is make his lower part
look like a zombie.

I'm just kind of interested
to see what Roy's doin'.

I don't think I've ever
seen that in person.

So I'm taking clear wrap
and pros-aide.

Pros-aide
is a medical-grade adhesive.

You lay down a layer
of pros-aide,

you let that dry,
you put the wrap over it,

and you can paint it,
and it looks

just like wrinkled flesh.

My original concept
was a post-apocalyptic soldier,

and the second concept
is a guy in a suit.

So after hearing
from Glenn, I decide

to combine both the characters.

He's in a war, but he's not out

in some desert somewhere.

He's in the inner city,

and he's still
taking all of these parts

and putting them on
so that he can fight this war.

I need
to test out the chest piece

and immediately run
into my first problem.

Something's a little wonky
in that.

- Sorry.
- No, no, it's not you.

It doesn't fit her at all

because I
have a well-endowed model.

After a long time of trying
to figure out what to do...

Oh, this is not at all
going to work.

I do a little flattening,
moved the pieced down by 2 inches

and make everything
fit together.

Once I get
my model's prosthetics on,

I love the way the face sits.

I've got that bitch brow
that's going on,

that snooty,
like, "what's up?"

You know, like,
"I'm cute."

What I'm going to do
is use a lot

of third degree for burns.

Third degree is gel.

You put it on
wherever you want it.

After ten minutes,
it starts to set and harden,

and then I just start painting.

13 minutes.

Your name is badass today.

I think it's
turning out really cool.

I'm feeling
like I've got something solid,

and I actually
put some details into it

that I am pretty happy with.

That's time, everybody.

There are five of us left.

At this point,
I think this is anybody's game.

At last looks, we have an hour,

and I got to pull
everything together.

You're in the very front.

Get the costume on him,
make sure everything

is set on that.

I was thinking there
was gonna be too much glare

to see out of it,
so I wasn't even gonna

do any lights, but Glenn
wants me to have lights,

so I found LED lights
that are not as bright,

so I'm gonna incorporate that
into the makeup.

Are you doing okay?

Going at a really good pace,
and all of a sudden,

my model feels very faint,
and I'm worried.

Water, please, for my model?

He's about to pass out.

Deep breaths.

He says,
"I just-- I just need to go."

He's got an emergency...

Oh, yeah, yeah.

And he just leaves.

I don't know what's going on,
but I'm very worried.

It wouldn't be good to walk out
on stage without a model.

Coming up...

- That's a bummer.
- I start to panic.

I love this thing.
I think it is really awesome.

I think I did
the best job up there.

He's got an emergency.

All of a sudden,
my model feels very faint,

and he just leaves.

We got 15 minutes, guys.

I don't know what to do.
There's nothing I can do.

I made these hydraulic pistons

that operate the jaw.

I reached
to get the pistons out,

and they're not there.

Shit!

Oh, well, I guess
I can forget that now.

- Are you okay?
- Yeah, I'm great.

My model does come back,
and everything's okay,

but I know I have
to blend the edges

and finish painting.

My heart is pounding
the entire time.

Yeah, that's
what I'm talking about.

That's time, everybody.

I'm very nervous.

My cyborg
looks like a hodgepodge

of different elements.

Welcome to the Face Off
reveal stage.

Tonight, one of you
will be eliminated.

First, let's say hello
to your judges.

Owner of Optic Nerve
Makeup Effects Studio,

Glenn Hetrick...

- Good evening.
- Hi, Glenn.

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

- Evening, everybody.
- Hi.

Creature and concept designer
Neville Page...

- Hello.
- Hello.

And joining our panel
this week,

she is
an award-winning producer

with a resume filled
with Hollywood blockbusters,

including The Incredible Hulk,
Aliens,

and the Terminator franchise.

She's also
the executive producer

of The Walking Dead,
which won an Emmy

for outstanding
prosthetic makeup.

- Wow.
- Please give a warm welcome

to Gale Anne Hurd.

Whoo! Yeah.

Nice to meet you.

She has been responsible
for the Terminator movies.

If anybody knows cyborgs,
this is gonna be the girl.

Thank you so much
for joining us tonight.

Thank you.
It's great to be here,

- and good luck.
- Thank you.

So this week,
your spotlight challenge

was to source items
from a junkyard

and incorporate them into
an original cyborg character.

Let's see
what you've come up with.

♪

I know that it
isn't the best cyborg ever,

but I like my paint job.

That's the biggest thing I like
about this piece.

♪

I honestly think
I pulled this off better

than anybody else did tonight.

I don't normally say that,
but I think

I did the best job up there.

♪

it just looks awesome.

The lights and everything
look really cool.

I really feel strongly
about my concept.

I'm hoping this
will be win number three.

♪

She struts out,
and her train is flowing.

She is stunning.

I am proud,

and I feel like
I came back with a bang.

♪

I was struggling back and forth

between concepts
the entire time

because there's a million things
that I could have done,

but the fact
that I was able to even

put that out on stage
is something.

Judges, why don't you
take a closer look.

I'm not really sure
exactly what to think

when the judges go up
and do a close-up look.

I'm hoping that they'll
like my paint work.

This is all prosthetic.

Yeah, I mean,
you basically have

two silver-painted foam pieces
with stuff glued to it.

I'm surprised that we're
not seeing the things

- go into skin.
- Right.

Like, why not come up here?

It just
terminates without really--

- Terminates, very funny.

Can you tip down so we can
see the top of your head?

So this is meant to be
the scalp pulled back, correct?

It's exposing the brain.

This is one of the few makeups

that I'm not stressing over
what they look at.

It's the best thing
that I've done.

This piece
is particularly interesting.

It has all of these on it.

And I like this claw.

This line is gorgeous.

Yeah, this whole flow.

These are appliance pieces.

Yeah, it's blended around here,

but she did a really good job

'cause, look, it's got
to be blended up in here,

and it's really seamless.

It really does look
like the cables

- are connected under the skin.
- Yeah, it's actually integrated

- into her skin.
- Yeah.

It's very different
from her concept.

I start to panic.

I didn't create
a cohesive look.

It looks like the piece
of his head is missing here.

Mm-hmm.

To go home now
would be heartbreaking.

There are only
five contestants left.

Tweet about your favorite
using #FaceOff.

The judges go in
for a closer look,

and I'm
getting a little worried...

So this is all blended up
through here.

And this is a prosthetic here,

and so is all this.

And I haven't given the judges
something complete,

so I'm just trying not to think
about it.

It looks like the piece
of his head is missing here.

- Mm-hmm.
- You see what I'm saying?

Yeah.

So, Gayle, how do you
feel our artists did tonight?

I have to admit I didn't know
what to expect,

and a lot of these here tonight
blew me away.

All right, well, the judges
would like to speak

with each of you
to learn more about your work.

Laura, let's start with you.

I'd like to start by asking

what is the reason
for the prosthetics

on the human side of his face?

Uh, it's kind
of like plastic surgery.

So there's subdermal implants
of some sort.

- Yeah.
- Okay.

I have to be honest with you.

I've come to expect more

in terms
of unique approaches from you.

You did some really cool pieces,

but it feels like what it is...

Parts from a junkyard
smushed together

into a robot idea.

Sort of on a fence
about this one.

I'm definitely not
on the fence about this one.

It's not my favorite.

It-- it feels like
it has too many concepts

that don't feel cohesive.

He's got these implants
in his face.

There's a radar
of some sort on his forehead.

Do you mind turning around,
please, so I can see the back?

What was it supposed to be?

It was supposed to be
the power source for the arm.

It doesn't look that way.

This chest piece here,
what's the function of that?

He was injured,
and that was supposed to be

the best thing he could find
to heal that.

When we made the Terminator,
we probably spent three months

coming up with the designs
for that.

I think you've come up
with very cool things,

but there is that lack
of cohesion.

Laura, thank you very much.
Will you please step back.

Roy, you're up next.

What exactly did you take
from this junkyard?

I took this console
in the back.

It's a middle console.

These are steering struts,

and this here
is also from the junkyard,

and this was developed
for the military

to put on wounded soldiers
to help heal them.

What they didn't realize
is that instead of regenerating,

it actually
reanimates the flesh.

He's basically a zombie now.

Okay, well, holy smoke,
you've done it again.

You've created
another big, fabricated bugger.

The best part about it, though,
is you did a makeup on him,

and you actually sculpted,

and it looks pretty darn great,
I gotta say.

Thank you.

It is impressive.

And the lights above his brain,

his exposed brain-- I wasn't sure
why his brain is exposed.

There was supposed
to be electrodes going to it,

and that's what the light
was supposed to be for,

just to make it look cool.

That's an answer I can embrace,

because at the end of the day,
when we're doing design work,

it just has to look cool.

- Thank you.
- Unfortunately, once again,

so overly invested
in the fabrication

that I feel like you missed
a lot of other opportunities.

You're making mistakes
because you're trying

to do too much.

Roy, thank you very much.

Sarah, please step up.

All right, Sarah, there's
a silver chest plate piece.

What is that,
and how is it attached to her?

She was in the military,

and an accident happened,
and she was in a coma

for an extended amount of time,
and they decided

to start doing some testing
on mechanical-hybrid humans.

This chest piece
is supposed to be in line

with her collarbones.

However, when applying it
on her today,

I discovered
that it didn't fit,

so there had
to be some adjustments made.

Wow, that's a bummer.

You picked wires.

That doesn't even count
almost as something

from the junkyard.
That's just like--

that's part
of what I would have.

The eyepiece, it doesn't look

like there
is any kind of function

that I could possibly imagine
what that would be,

and I don't know
if you understand

what those things really are.

I-- everything I grabbed,
to be honest,

didn't know what anything was.

What organs have been replaced?

I don't know.

Okay.
You know, I think

that because
it's not fully realized,

um, I don't think you
achieved your objective.

I think you did a great job

sculpting this piece
on her face.

You know, when you get up close,
it looks really cool,

so I think you did accomplish
something very nice up there,

but this, to me,
feels like it's just a bunch

of stuff sitting on top
of her body.

It's something that should
actually have been embedded

in her chest, you know?

Sarah, thank you very much.
Will you please step back.

Nicole, please step forward.

How do you feel about this?

- I love it.
- You do?

I think it's,
like, the coolest thing

I've ever done.

That's very good, because
I have to agree with you.

It's probably the coolest thing
you've done.

I'm continually--
since your rejoining us--

blown away by how much better
you are now

than you were
before you left the first time,

and I have to ask why that is.

I think that my mentality
when I first got here

was, like, "I just-- I just hope
I'm not the first one

to go home."
I think that I was,

in the beginning,
trying to do stuff

that I thought you guys
wanted to see.

Now, I'm doing what I would
like to see.

I love this thing.
I think it

is an absolutely
stellar marriage

of science fiction and fantasy.

Thank you.

I, too,
really love this makeup.

She is spectacular.
Dang, you could put her

in front of a camera right now

as far as I'm concerned.

I know I personally would like
to take both of you

to Comic-Con,
because I think the fans...

- Shut up.
- ...would have

such a fantastic time,
and you...

- I've never been.
- You would

- be a stellar success.
- Ah.

That would be so much fun, yes.

Yes.

Nicole, if you would
please step back.

Thank you.
Thank you.

Derek, you're up.

What is the point to the piece
in the middle of his chest,

other than it came
from the junkyard

- and it looks really cool?
- This is just power source.

He was a soldier in a war,

and he was injured and burned,

and they turned him
into a cyborg.

It's a really,
really strong concept.

I also feel that,
overall this week,

you've probably
made the most clever use

out of the found objects
from your junkyard pick.

The simplicity
of that extension cord

in the middle of his chest
becoming a harness

is really awesome.

The fact that you
sculpted a hard-surface mask

and used it as your makeup
is a huge success.

Thank you.
I appreciate it.

That really has a strong,
iconic look,

which is great,
'cause so many of us strive

to create looks
that could eventually

not only end up in a film
but end up being a toy.

Thank you.

I think this is truly stunning,

and I could see it
in one of my films.

Thank you.

So well done.

Thank you.
Appreciate it.

Derek, thank you very much.
Please step back.

Thanks.

Okay, the judges have heard
what you have to say.

Can you please head back
to the makeup room

while they make their decisions.

All right, guys, so let's talk
about the looks overall

and what you thought.
Why don't we start with Nicole.

It was elegant,
and it read cyborg to me.

It was real delicate
and real female-looking.

It didn't shout at you.

Everything
looked really beautiful.

I wanted
to write a story around it.

I mean, that's
how inspiring I think it was.

Awesome.
I cannot express how impressed

I am with the way
she is fighting back

since she's
gotten the second opportunity.

Yeah, she's got the hunger.

All right, let's move on
to Derek.

- What are your thoughts?
- He's a good designer

and a really good aesthetician

with regard to form development
and concept.

You could be shooting
this thing

in an indie film
as, like, a lead villain,

and that's impressive.

I mean, even
on lower-budget films,

nobody does this stuff
in two days.

- No.
- All right, let's move on

to Roy.

Big ideas.

Once again, he did
the big hoopla.

I really hope he listens
to you on the next phase.

But I would argue that there
is an insidious wisdom

in to him continuing
to ignore me

and make the same mistake
every week, and it's this...

He always manages
to end up safe or in the top

because the-- overall,
the silhouettes and the profiles

are too big and too strong.

Let's move on to Laura.

Oh, the green eyeball.

It was like a tech egg yolk.

And then there
was the backpack module.

To me it
just showcased my distaste

for not thinking through
the function of something.

Take your actor,
dip him in Elmer's glue

and then roll him
in junkyard stuff.

Stand him up,
and you got--

"junkyard guy"
is what it felt like to me.

All right, let's move
on to Sarah.

If you don't know
what a cyborg is

and you haven't seen a film
with a cyborg,

you're gonna be challenged.

She is crippled by the fact

that she has not seen
so many of the iconic films

that have, like, paved the way
for mostly everything

that we do in science fiction.

It was all about function
and utilitarian design,

and hers is completely
devoid of it.

Nothing on that
looks like it does anything.

All right, judges,
have you made your decisions?

- I think so.
- Yup.

Let's bring them back out,
then.

Glenn, tell us
about the top looks.

Nicole, you made
some really interesting

design choices tonight
that could

have easily gone wrong,
but they didn't,

and we're really, really
impressed with your work.

And Derek,
you were the most creative

with the use
of the junkyard parts,

and your character
had a great overall look.

Glenn, who is the winner
of this challenge?

Tonight's winner is...

Glenn, who is the winner
of this challenge?

Tonight's winner is...

Nicole.

Your character had a really
powerful silhouette,

and it was
extremely well executed.

You trusted your instincts.
You have to do that more.

It really worked for you.

This is awesome.

I was eliminated,
and I've just won my second one.

I feel like I finally
proved myself.

- Nicole, congratulations.
- Thank you.

You can head back
to the makeup room.

Good luck, guys.

Derek, you
are also safe this week.

Get back to the makeup room.
Thank you.

Thank you.

Glenn, why don't you tell us

about the bottom looks
this week.

Actually, this week,
we've decided

that there's
really one bottom look.

Sarah,

your inability
to settle on a design

or to make adjustments
really crippled you this week,

and the work just wasn't up
to the same level

as the rest of them.

I agree.

Roy, Laura,
you are both safe this week,

if you'll please head back
to the makeup room.

It's been a real pleasure
seeing your work.

Thank you.

It's been an honor,

and I very much appreciate
everything you've had to say.

Thank you.

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

Please head back
to the makeup room

and pack up your kit.

- Thank you.
- Thank you.

- Good luck.
- Good luck.

I'm disappointed
I couldn't pull something out

that was as good
as everybody else's.

I wouldn't have traded it
for anything.

This has been an amazing ride,

and it's meant a lot for me
to be able to be here.

And it's not an easy road...

Not at all.

But I love doing this.

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