All language subtitles for Face Off - 5x13 - Swan Song.HDTV.CRiMSON.en

Welcome to the season finale
of Face Off.

Tonight, the stage is set
for a sensational showdown.

In the battle of veterans
versus newcomers,

just three veterans remain,
but only one will win it all.

This is it.
This is for all the marbles.

Laura.

She's come back
and outdone herself.

I'm not just doing it
for myself.

I'm doing it
for my husband and my mom.

Tate.

You did some really cool stuff.

Very cool makeup.

This is not
about redemption to me.

Winning Face Off is exactly
what I need for my career.

Roy.

Roy comes up
with these gigantic ideas.

I want to win this for me
and my wife and for my kids.

But in the struggle
to be crowned champion,

some will crumble
under the pressure.

You need to get on
the same page.

It's difficult to explain
a concept that doesn't exist.

- Wow.
- The seams are horrible.

Fuck.

There's so many holes
in that mold.

This is the worst position
I've ever been in.

It all comes down
to one final dance with destiny.

In the end,
one will win a VIP trip

from Kryolan
Professional Make-Up

to one of their
85 international locations,

a 2013 Fiat 500,

and $100,000.

Who will be the next great name
in movie magic?

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

Being in the finale,
I still can't believe it.

After being almost in this place
before, it's very exciting.

I'm pinching myself
to make sure I'm awake.

Hi, baby.

I come downstairs,
and I see my wife, Melissa.

I made it!

I am so proud of you.

I knew you could do it.

_

_

I see not only my mother,

but there's also my husband.

Are you sleeping, eating?

Calm down.
It's all good, mom.

I see my mom and dad
on the laptop.

It's definitely what I need,

you know, to power me
through the finale.

I got one more challenge.
That's it.

You need to go win this thing
and come home to me.

I'm gonna do my best.

My wife, Melissa,
she's been supportive

in every aspect of my career.

I want to win this for her
and for my kids and for me.

This is it.
This is redemption.

- Never give up.
- Never surrender.

It's such a treat,
such a nice thing, to see them

and know that they're
rootin' for me back home.

You got it this time.

_

The one thing
that makes us love you

like we do is your heart.

- Thank you.
- Go Bubba go.

It's good to talk to my family

because they remind me
of the person that I am.

After seeing them,

I feel renewed and definitely
ready for the challenge.

- Bye. Love you.
- Love you.

- Sci-five.
- Sci-five.

I just want to make 'em proud.

We walk into the lab,
and this is it.

This is the last time.

This is the last challenge.

I've got to be the best,

so hopefully there's enough
creative energy for a win.

Congratulations,
and welcome to the finale.

Thank you.

At the beginning
of this season,

we pitted the veterans
against the newcomers.

Now, only veterans remain.

Your final spotlight challenge

will delve into
the classical world,

where dance is one
of the highest forms

of expression.

While special effects makeup

is typically
associated with film,

it is also often
used on the stage.

So, with that in mind,
you will be creating makeups

for a unique performance
of one of the most

iconic ballets of all time...

Swan Lake.

Aw!

That was phenomenal.
Thank you so much.

The tragic plot of Swan Lake
involves a beautiful maiden

who is cursed
by an evil sorcerer

to live out her days as a swan

and only return
to her human form at night.

Your spotlight challenge
is to create two characters,

the maiden as she
is transforming into a swan,

and the wicked sorcerer
who cast the spell on her.

Ooh.

You will be
applying your makeups

to principal dancers
from the Los Angeles Ballet,

and three days from now,

they will be performing
in front of a live audience.

It's amazing.

Oh, crap.
Ballet.

Dance will restrict
so many ideas that I want to do.

This is definitely
a difficult challenge.

Obviously, there is a lot
on the line this week,

so I brought you some help.

Come on out, guys!

Yeah!

Yay!

All right, now you
will each get to choose

one veteran and one newcomer
to join your team.

Laura, you get to chose first.

- Miranda.
- Let's do it, girl.

- Roy.
- I got to take Frank.

I gotta pick somebody
as crazy as I am.

- Tate.
- Alana, get over here.

I got you, Master Tate.
We're gonna do this.

What's up, punk?

I'm gonna go with Eddie.

I'll take Scott.

Lyma.

We're about to work
for this, Boo.

You are almost ready to go,
but I got a twist for you.

Always.

Swan Lake
found blockbuster success

in Darren Aronofsky's
Black Swan,

which was set
in modern-day New York.

However, the story
was originally set

in the middle ages,
which shows that this tale

can be set anywhere.

So with that in mind,

you will each
select a unique era

that must be incorporated
into your designs.

They are...

The Roaring '20s...

the Industrial Revolution...

the Ming Dynasty...

and the Italian Renaissance.

Tate, you're first to pick.

Industrial Revolution.

- How did I know?
- Laura, you're next.

Italian Renaissance.

And Roy.

- Ming Dynasty.
- Cool.

Okay, go ahead and get started
on your designs.

I'll be back later on
with my dad

to see how everything
is coming along.

- Cool.
- Bye-bye.

- Thank you.
- See you.

I'm gonna put out a concept,
and feel free to add to that.

When we sit down to sketch,

I'm trying to make
characters look like

they have elements

of the Italian Renaissance
within them.

For the female,
it's all golds and pearls,

and I would like
to put a crown,

slightly alter
the shape of her head,

and make it look
as though her clothing

is starting to melt
into her skin.

Let's go on
to the evil sorcerer.

Sorcerers, in my head anyway,

always have those
very pointed shoulders,

and they have a crown.

Dark features, and of course

he's gonna have
a staff of power.

If you got a good fabric
that will flow...

Mm-hmm.

It'll extenuate
his whole dance.

Yeah.
That might be good.

Since we're doing
the Industrial Revolution...

Industrial Revolution.

I really want to emphasize
the pollution versus purity.

With my sorcerer,
I'm incorporating

the Industrial Revolution
into his character

by making him smokey
and soot-covered

and putting smoke stacks
into his head and chest.

I want the swan to be purity.
You know what I mean?

So there's that contrast
between them.

I'm making the swan feel like
it's pulling out of her,

so I come up with this idea
of putting the swan

on the arm
and a wing in the head,

and a swan profile
coming out of her chest.

And then on the face,
I want to keep it--

- Soft?
- Soft but beautiful.

Okay, do I look like
I go to the ballet a lot?

So, I sit down with my team.

We start going over ideas.

I feel like I'm definitely
struggling on this one.

You know...

I'm just not feeling it.

I don't know if it's
just because it is ballet

and Ming Dynasty that, you know,
I'm just-- I feel lost.

I'm open to any ideas
and input.

So maybe instead of it
being she's enchanted,

maybe he's turning her
into an automaton.

Yeah.

Since I don't know where
I'm gonna go with this makeup,

I'm going with Frank's concept
of the automaton.

So our sorcerer
is really an inventor,

and he creates mechanical pieces
that people think are magic,

and he's actually
created this automaton,

which is mechanical,

that's turning from
a human form into a swan.

So I just go ahead

and let Frank and Scott
start sculpting.

Frank starts working
on our sorcerer

and Scott starts workin' on
the face appliance for our swan,

and I pull some clay
and start trying

to work on some feather pieces.

What are you thinking about
for her body?

I'm not--
I'm thinking about it.

Yeah.

This is blocking-out day.

Miranda
is blocking out the cowl

and Eddie is blocking out
the chest of the sorcerer,

and I start on the chest piece
for our swan.

I'm going to try to get as much

blocked out in clay
as I possibly can today.

That's looking really nice.

I'd still bring the beak out
just a little bit.

The most important part
as team leader

is that I see my vision
through the way I want it to be,

which means that
I'm going to have my hand

in all the sculptures.

Um, Tate?

I have Lyma working on
some bird scaling textures

for the hand and for the arms.

It's not going well.

Lyma's sculpting very flat,
and I don't like it.

Can I say something?
Check this out.

On some of 'em,
add a little piece

on the top to get
some dimension.

- You sure you want that?
- Yeah.

It's my ass on the line.

She needs to stop
thinking for herself

and start listening
to my delegation.

They don't have to overlap,

but some of 'em, just
raise up above the others.

Okay.

Hey, guys!

- Hey!
- Hey, guys.

Here for
a final walk-through.

How are you showing us

that there is a morphing
going into the swan?

The thought
was to take the wings

so they're coming forward

and wrapping around
her body this way.

Is it going to wind up
being beautiful,

or is it gonna look
like a bony chest

from a horror movie?

This isn't monster.
It's not alien.

- It's the ballet.
- All right.

The era we picked was
the Industrial Revolution,

so I really want to work in
a lot of metal fabrication

as well as gears and things
of that nature,

kind of steam-punky.

One thing I want
to warn you on is,

because it's pollution,
because it's smoke,

because it's dirt and grime
and all like that,

don't get it too dark.

I feel it's the one thing

that you've
been doing all season.

You've been lucky,
so be careful right here

because something like that
could be a problem.

Yeah.
That's a good idea.

Frank had this great idea
of our guy being, like,

an alchemist
and turning the swan

into an... automaton.

- Automaton.
- Automaton.

Do you have any sketches
of the swan?

We're still trying
to figure all that out.

Now, this is one of the things
that's happened in the past.

The person that was in charge
didn't keep it all coordinated.

The thing about
team challenges is that

you want to make sure
that it looks like

the same person did everything,

especially in the finale,
which right now,

that's not what I'm doing,
'cause I got one person

doing one character
and one person doing the other,

and then I'm oblivious
to what's going on.

I want to win,

but if I don't figure this out,
I'm really screwed.

Coming up...

There's so many holes
in this mold.

I think my swan is ruined.

The seams on the cowl
are horrible.

- There's no next week.
- Yeah.

You need to get
on the same page.

The winner of Face Off is....

So, tell us
about your whole concept

and what you're working on.

We're still trying
to figure all that out.

Today's the first day
of the finale challenge.

We have to create a sorcerer

and a swan that's
in mid-transformation,

but it's difficult to explain
a concept that doesn't exist.

There's no next week...

- Yeah.
- ...and it has to work.

Really get on the same page.

We're not off
to a good start...

Can't wait to see it.

...but I've never been
the type to give up.

I'll figure something out.

All right, everybody.
Good luck!

- Bye!
- Bye-bye.

_

Cool. Yeah.
Love it.

End of day one, and we've
got a good pace going on.

I feel like everybody
is working very smoothly,

and I feel like we've
started out on a high note.

All right.
That's time, everybody.

Today could have been
much better.

I'm not jiving
with the concept for my swan.

I'm not sure
where this is gonna go,

but I really want
to win this time.

Whoo!

It's day two in the lab.
We've got ten hours today,

and there's a lot to do.

- Don't have that curve in it.
- Oh, okay.

Getting home and, you know,
gettin' a little bit of rest

last night really cleared up
a lot of things,

and I'm afraid Frank's idea
of doing a mechanical swan

is gonna look too much
like what Tate is doing,

so my new concept
is that our sorcerer

is a Chinese alchemist,

and the girl turns
from human to gold to swan.

That way, we can still go

with what we've got going

and we're not losing any time

with anything
that we've already started.

This is a long lab day,
and the goal

is to get
these two chest pieces molded,

and Miranda and I are done
with the detail on the chest,

so Eddie gets to take those

back into the molding room
and start molding.

I was thinking
about it last night.

These guys, we're gonna
have to put on hold because...

we're shifting
over to porcelain.

Okay.

I've decided that
I didn't feel comfortable

with the Industrial Revolution

not being integrated
into my swan.

So my new concept
is that the sorcerer wants

to capture the spirit
of the princess

inside this mechanized vessel,

so she's
a porcelain-skinned doll

with all these underlying
brass gears and stuff.

And I want to see you
paint some of these.

Deciding to go
with the mechanized swan

eliminates the need
for the skin textures

that Lyma's been working on,
which is unfortunate,

but I'm going
to give her some feathers

and I'm gonna
tell her what color

and we'll see how that goes.

_

Time's almost up
and we're pushing it

on the swan's cowl.

It's crackin' everywhere.

It's just-- it's fallin'
all to pieces.

Fuck.

There's just no way
to salvage this thing,

so we'll have
to re-do this one.

Oh, damn.

I'm pretty ticked.

I feel like I've let Roy down.

I really wanted this cowl mold
to come out nice.

We'll make it
beautiful tomorrow.

_

Okay! Time.
That's it!

I'm trying to be laid back
on this one.

I don't want to be, like,
a tyrant, but that cost us

at least three hours,

and that's
a pretty good-sized hit.

Oh, yeah.

Day three, we have
9 1/2 hours in the lab.

I'll start on this puppy
and figure out what's goin' on.

We have to get the cowls

into the mold room
as fast as possible.

- This okay, like, how it is?
- Yeah.

So Miranda is finishing up
the cowl for the sorcerer.

I'm going to finish up
the cowl for our swan.

We've got a lot
of things to do today.

Scott's got to re-sculpt
the cowl and get that mold made,

and I want him to take time.

I want to make sure
that it gets done right,

so I tell Scott,
"As long as it's ready

by the end of the day,
that's fine."

Frank still has to make the mold
on his cowl that's sculpted.

I'm starting making stuff
for the armor

and start working on the cloak.

Do you want them
to be uneven like that...

Yeah.

...or do you want me
to round them? Okay.

No, I want them to look like

- the brick has chipped at the top.
- Okay.

Alana and I
bounce back and forth

on the sorcerer's crown
and shoulder pads.

I'm going to have Lyma feathering up
the chest, feathering the head,

and beginning the arm feathers.

You might want to start
with the long feathers first

and work your way backwards.

That way, they lay correctly
over each other.

Here you go.

We finish up the cowls,
so Eddie begins molding,

and Miranda and I
continue to work on the faces.

Yeah.
We got three hours.

The sorcerer's cowl
has two horns that intertwine

and one horn
coming up the front.

This is very difficult to mold,
so I create a plug

that I'm gonna cut out
once the piece is run in foam.

Everything seems
to be going well,

but I'm rushing and rushing
just to make sure

that everyone gets done
by the end of the day.

Looking good, girl.
Looking good.

Our sorcerer has a chest piece,

and Frank has sculpted
out chest armor.

Then we're gonna take some L200
and cut out the swan design

that he came up with and glue it
directly to the chest

so it looks
like it's all one piece.

Take it out and hit it
with the spray gun.

It'll spray
that water clay right out.

So, while I'm molding the cowl
for the sorcerer,

Alana runs outside to clean
the cowl mold for my swan.

Fuck.

And all the sudden, she comes
running back in, white-faced.

There's so many fucking
holes in that mold.

- It's fucked up.
- Really?

And I-I can't even
get the fucking L200 out.

The clock's dwindling down.

I still have a lot to do.

Let me go take a look.

I'm worried.

I don't have time
to re-sculpt it,

and I definitely
don't have time to re-mold it.

The inside of the mold
is full of holes,

so when you run foam in it,
all you're gonna get

is the shape of the swan head
but none of the details,

so at this point,
the overall look

of the swan character
could be ruined.

I can't go out like this.

It's day three, and the inside
of the swan's cowl mold

is full of holes,

so instead of finishing
my piece for the sorcerer,

I'm outside stuffing clay
into holes in my mold.

I'm trying to keep
myself together,

but I'm just really upset.

- Did you finish the cowl?
- Yeah.

Because I had to waste
a lot of time

fixing the swan's cowl mold.

I don't think I'm gonna get
my sorcerer mold done in time.

15 minutes!

That's time, everybody!

I don't get my sorcerer mold
done in time for foam,

which means that tomorrow,
on the day of application,

I'm going to have to run it
in latex and polyfoam.

21 challenges on Face Off,

and this is the worst position
I've ever been in.

All right, it looks like we've
got everything in good shape.

It's application day
for the finale.

We've got four hours
in the lab,

and then one hour
at last looks.

Oh, that's great.

She may actually be able
to dance with it.

This is definitely
the most important day

that I've had on Face Off.

It's make-it-or-break-it time.

The seams on the cowls
are horrible.

- Wow.
- Yeah.

It's on the other side too.

There's foam where there
should not be foam.

But the good news
is we still have

the same form
that we started out with.

It's just gonna set us back
maybe an hour.

We're gonna get you guys
into wardrobe.

- They're gonna take care of you.
- Tate.

I have a few things
to do outside.

Which wardrobe do you like
the best for him?

Ooh.

This is the day
that defines all of my work,

and yesterday was a setback

because I didn't get
my sorcerer mold done in time.

So, while I'm finishing that,

I've got Lyma beginning
the arm feathers and Alana

on pre-application
on the sorcerer's face.

There's $100,000 on the line.

Isn't that fucking insane?

That's pretty cool, Roy.

Oh, yeah.
That looks so good.

2:52 on the clock,
everybody!

Yeah, it fits great.

Okay, can you get
some sort of-- Oh, perfect.

The seams on the cowls
were very rough,

but once we get past that,

we are really good on time,
and there's a wonderful thing

that we add
to the swan's wardrobe,

and that's
the giant pearl choker.

There's six edges now
that I don't have to cover up

because I'm covering them
with wardrobe.

Strategically, that's probably

the smartest thing
I do all season.

That looks great, Laura.

It's coming together.

Black, red, yellow, orange!

Do you need to go jump on that?

Application's taking a lot
longer than what I thought.

All right, I got to start
layin' feathers now.

If not, we're not
gonna get 'em laid.

I'm gonna start
putting the feathers

up the back and on the cowl.

Yeah, as you move,
they'll ripple.

The time's just slippin' away.

That's one hour, everybody!

One hour!

We're gettin' there.
We're gettin' there.

Okay.
We're good back here.

Everything's starting
to come together.

The appliances look nice.

Lyma's doing the body paint.
It looks good.

I'm starting to see
a little light

at the end of the tunnel here.

- How long do we have?
- Seven minutes.

Um-- oh!
Teeth.

- I am busy.
- You got feathered hair.

Literally feathered hair.

I'm here.

- Time! That's it!
- All right, guys.

- Let's get out of here, man.
- Whoo.

Got a lot done.
Still have a lot to go.

We're not in a great spot.

There are details that could
make or break my characters.

This is reminding me
a lot of season three.

I was at the finish line,
and I tripped,

and gosh, I don't want that
to happen again.

We're at the theater where
the performance is gonna be at,

and this is it.

This is for all the marbles.

Honestly, I'm as nervous
as I was

the very first challenge
that we had on Face Off.

This last hour
is tremendously important.

I have to apply
and completely paint the crown

and the shoulder pads
that I just made this morning

out of latex and polyfoam.

So, lots of pressure.

I just hope that it
fits my model correctly.

Frank is gonna handle
the application on the sorcerer,

'cause it's gonna take me
and Scott both to apply

all the feathers and to get
everything painted on the swan.

Yeah, let's see
what we got goin' here.

There is so much work to do.

Eddie and Miranda
are double-teaming the sorcerer,

and I'm working on the swan.

I need to give her
lipstick, eyeliner,

all these details
that, hopefully,

the judges will appreciate.

That's time, guys!

Drop the brushes!
We're done!

Roy, it's time.

Time's up, and I feel
really good about these makeups.

They both look incredible.

I think that we have met

every part of this challenge
as a team.

- Thank you.
- They look so fucking good.

Finally, it's over.

It's just a wash of relief.

We made exactly what I wanted.

Doing this in two days...

- Let's see him.
- ...is insane.

That looks so good.

My biggest concern

is the latex and polyfoam
crown flying off.

If it was foam latex, it would
have been custom fit to him,

so I'm not out
of heart-attack-land yet.

Coming up...

I'm nervous.
I can't stop shaking.

This is the finale.

You achieved an iconic look.

She may be the strongest
one on stage tonight.

The two of 'em together,
the dance was exquisite.

Ladies and gentlemen,

please welcome
McKenzie Westmore.

Welcome to the Face Off
season finale.

Tonight, we are celebrating
one of the dance world's

highest art forms
with a spectacular performance

of Swan Lake.

Now, for their final
spotlight challenge,

we asked each of our finalists
to create two original makeups.

A beautiful maiden as she
is transforming into a swan,

and the evil sorcerer
who cast the spell on her.

We also asked the artists
to incorporate

a unique era
into their designs.

Now, with that,
I would like to introduce

our panel of judges.

First off, we have owner
of Optic Nerve

Makeup Effects Studio
Glenn Hetrick.

Three-time Oscar winning
makeup artist Ve Neill.

Creature and concept designer
Neville Page.

All right, everybody.
It is time to get started.

Our first pair of makeups
is from Roy,

and he chose the Ming Dynasty.

Let's take a look.

I feel really good
about these makeups.

It fits ballet,

but it also fits
the Ming Dynasty,

so I think that we have met

every part of this challenge
as a team.

The female character
is beautiful yet striking,

and the sorcerer's
got a lot of fine details.

I'm feeling very proud
for myself, but also my team.

Wow.
We pulled it off.

I spent three days thinking

I was about to put
a dead goose on stage,

and instead, I end up

with really
remarkable-looking swan.

I'm actually very proud
of both makeups.

All right, everybody.

Well, that was
just the beginning,

because now it's time
to put them all to the test

in a unique performance
from the Los Angeles Ballet.

Yes.

I present to you, Swan Lake.

Wow!

That was amazing!

I want to give a huge thank you
to the Los Angeles Ballet

for creating
such a beautiful piece.

And to our studio audience,

thank you
for being with us tonight,

now it's time for the judges
to take a closer look

at the makeups
and deliberate in private.

So, good night everybody,

and thank you again
for being here.

Thank you, guys!

Judges, why don't you come

take a closer look
at tonight's characters.

From far away, the makeups
look like they held up,

but during the performance,
anything could have happened,

so I'm nervous.

This is the finale.
I can't stop shaking.

We want to know what you think

of tonight's transformations.

Tell us on Twitter
using #FaceOff.

I like the way it comes
like feathers.

And the gold here, I like that.

- Can you turn around, please?
- The wing thing's pretty cool.

I like the hair in feathers.
It's a really cool shape.

You can come back around,
honey.

That's a very cool art piece.

And I do love the palette.

I want you to try
to emote through the makeup.

It moves all right.

It looks like gilded ceilings
with ivory molding.

It's theatrical enough that
it's working from a distance.

Whoa.
That's a lot of work on him.

- Can you tilt your head down?
- Wow.

I mean, it creates
such a unique character.

Thank you.

Look at all the little gears
and stuff.

This is really
beautifully handled.

Can you turn
to the side for us?

Look at that.
It's quite amazing.

Really does
a subtle Industrial.

This is really interesting.

Wow.

It's a great beard.

Can you turn
to the side for us?

- That's a great profile.
- Yeah.

- Thank you.
- Thanks.

So, judges.

How did they do tonight?

I think it was
absolutely fantastic.

I feel very confident

that we have the right people
here tonight.

I'm just really happy with
the way the makeups turned out.

Good work, guys.

I think it's some
of the most beautiful work

that I've seen to date.

Well, the judges
would like to speak

with each of you
to learn more about your work.

Roy, you're up first.

Roy, tell us
about your concept.

I chose the Ming Dynasty.

What I decided to do

is make my sorcerer
also an alchemist,

and so whenever
he takes and casts a spell

she actually turns to gold
before she turns into feathers.

I think
it's absolutely gorgeous,

particularly your sorcerer.

Shrouding him
with all the swan forms

is quite brilliant,

and it makes this really cool
profile and silhouette

for your sorcerer and gives it
a very Asian flare.

With your swan,

you could have handled
that feather transition

into her skin
a little bit better,

but they certainly
look like they go together

and they looked absolutely
gorgeous dancing together.

Thank you.

I noticed that you did
a little treatment on her nose.

Now, what was that meant to be?

That's meant
to start progressing

into the bill,
because that--

I didn't want to take
and add to the nose,

you know, so much, 'cause I
didn't want it to look comical.

I think that
was very successful.

I like the way you integrated

the black eye makeup
above the cheekbone.

That's really a neat transition.

I think you did a great job.

Thank you, thank you.

The female character,
a little odd for me in places,

but the overall design
of your characters

is so profoundly strong

that you achieved
your own iconic look,

and that's one
of the greatest things

you can ask for
in character design.

Thank you.

Roy, please step back.

Laura.

Please tell us how you brought
all of this to life for us.

I wanted to make
a conjurer sorcerer

who could morph other people.

So, we gave her a crown
and gold leaf

to bring home the Renaissance,

and we tried to have her
mimic a Roman statue.

I think that you did
a really marvelous job.

I absolutely love
how her bodice

looks like it's morphing
into something,

and then the shoulder piece
is like the start of wings.

I would have liked
to have seen a little bit

more feather action
on her head, I think,

because it's getting
a little helmet-y,

but the two of them together,

the dance
was absolutely exquisite.

Thank you.

You've got some
great texturing happening.

There's a real beautiful,
classic silhouette that she has.

With regard to his head,

there's a massing
that's occurring

that is changing the beauty
of the person underneath,

but there's
such wonderful detailing,

I look beyond that.

Fantastic work.

Thank you.

The savage grace with which

you approach the swan
is so unique.

A little bit more fantasy
would have been too much,

so I think
you hit a perfect balance

with the Renaissance
art concept.

Thank you.

Laura, if you'd
please step back.

Tate, please step forward.

Okay.

So, tell us
about your time period

and how that influenced
your concept.

We had the Industrial
Revolution.

Our sorcerer built
this gear-driven vessel

and cast a spell
to conjure her soul into it,

and she started transforming
into this metallic swan.

There's some
really bold choices

that create exceptionally
strong characters.

You have a very unique
silhouette on both of them,

but particularly your swan,

and even with your sorcerer

feeling a bit dry
in terms of paint,

it feels appropriate
because he's all dusty

and void of life,
hence the cataract eyes.

- I'm really pleased to see this.
- Thank you.

I think that your swan
is quite beautiful.

This is the epitome
of asymmetry working properly.

She may be the strongest swan
that we have onstage tonight.

With the sorcerer,

I think that it was headed
in the right direction,

but I think the towers, to me,
seem a bit medieval.

I think that it needed
to speak more directly

to the architecture
of the Industrial Revolution.

She is stunning.

Could you put your arm
out again for me?

Look at that.
It's, like, the long neck,

and then these wings
sweeping back.

I-- She-- I think
she's absolutely stunning.

- Thank you very much.
- Tate, please step back.

Okay. Thank you all.
Appreciate it.

Thank you, guys.

All right, guys.

The judges have heard
what you have to say.

If you'd please head backstage
while they decide

who will become
this season's champion.

All right, let's talk about
our finalists' makeups.

Why don't we start with Roy?

Remember, he had Ming Dynasty.

Roy's ability to not only
give it an incredible silhouette

and profile, but to integrate

all of the swans throughout it.

I think that was quite beautiful
and well thought out.

His overall palette
on both really worked

and was quite harmonious.

I liked how they handled
the covering the breasts

with the sculpted
feather action.

I think they probably
could have used

a few more feathers
within that area,

but all in all,

I think that it created
a really pretty profile for her.

That is a good point,
because even though the face

did not feel very pretty,

treating her
with an open breastbone

and stomach was actually
very sexy and very provocative.

All right,
let's move on to Laura.

She had
the Italian Renaissance.

They're both so stunning
and so well done.

Her swan is exquisite.

Her treatment with the feathers

and working all that
in together,

and the beautiful
breast plate is just amazing.

And her sorcerer
was unbelievably gorgeous.

There was so much work in that.
I'm-- I was very impressed.

The facial detailing
was pretty incredible.

- It's quite beautiful.
- I'll tell you what.

When you saw the two of them
dancing together,

that was the highlight
of the performance for me.

Mm-hmm.

And they were of the same world

in the context of a cohesive
set of characters.

Yes, ultimately,
they look like great makeups

on ballet performers,
which is what...

- Oh, yeah.
- ...in essence, our challenge was.

All right,
let's move on to Tate.

He had
the Industrial Revolution.

- I loved Tate's swan.
- Oh.

I thought
it was really ingenious

how he pulled it all
off to the side.

I mean, what a great idea.

The storytelling was great.
The reveal on the arm...

- Yes.
- ...on the knee.

All those little details.

Those are some
really good ideas.

So much of it's
concentrated on the swan...

Yeah.

...and not enough of it
on the sorcerer.

Just a little peek-a-boo
of a gear.

- Yes.
- And I was like, "Oh! That--"

If you just took that
and magnified it throughout.

The sorcerer I struggle with.
He looks like a derelict.

Like a transient or something,
instead of a powerful sorcerer.

That's in the facial sculpt.

It didn't read like
what it was supposed to.

Even though we struggled
with the sorcerer,

that silhouette,

the fact that he broke it up
so intentionally asymmetric

gave them one
of the most unique silhouettes.

And that is so important
in performance art.

- Yes.
- Yeah.

This is so difficult,
because we've got

three amazing artists,
each of them representing

their particular skill set
so well,

and I'd have to say this
is the tightest race

that we've had
on the show to date.

All right, judges,
have you made your decision?

- Yes.
- Yes, we have.

Let's bring them back out.

One of you will become
the winner of Face Off.

So, Glenn, why don't you tell us
about tonight's makeups?

Roy, your color palette
was a perfect fit

for the Ming Dynasty,
and your characters

really felt like they
were from the same world.

Laura, we loved the unexpected
ideas in your design,

and we felt
that they complimented

the Italian Renaissance
incredibly well.

Tate, your swan character

had a truly fantastic
silhouette,

and the use of gears
was a great way

to communicate
the Industrial Revolution.

Glenn, who is the winner
of Face Off?

The winner of Face Off is...

Glenn, who is the winner
of Face Off?

The winner of Face Off is...

Laura.

Yeah!

Look at that!

You did it.

Congratulations, sweetheart.

- Laura, congratulations!
- Thank you so much.

You are the winner of Face Off!

I win!
I win, finally!

I can't believe it.
That was pretty awesome.

Here are the keys
to your new Fiat.

Wow.

Congratulations,

and nice work, gentlemen,
as well.

Thank you.

I feel really proud
of every makeup I've created.

I feel really proud
of the obstacles I've overcome.

Congratulations.

This was, again,
a fantastic experience

that will probably go down

as one of the best
I've ever been through.

I came here
to make it this far.

That's where I wanted to be
in season three,

so given this second chance
to do it again

and actually get there
is icing on the cake.

Sometimes you have to eat
your cake without icing,

but it's still cake.

My family and friends
deserve this win

as much as I do
for supporting me

on this crazy career choice
that I've chosen.

That's all I ever
wanted in life anyway,

was just to be an artist,

but I'm so lucky
that I get to use my craft

and create creatures
every day and have fun.

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