You were incredibly successful.
One of the prettiest paint jobs I've seen on the show.
You've created these dimensions. It's very smart.
Thank you very much.
(McKenzie) Previously on Face Off...
Logan's beautiful body paint carried him to victory,
and Rob became Team Rayce's third straight artist
to be sent home.
Now nine artists remain,
and tonight they will tackle a terrifying challenge
for a movie legend,
Clive Barker.
Hello, Face Off contestants.
[laughter]
Oh, shit.
My mold's cracked.
I don't know what I'm gonna do.
How did this happen?
My face is a frickin' disaster.
I do not know what I'm looking at.
(McKenzie) In the end, only one will win a VIP trip
from Kryolan Professional Make-Up
to one of their 85 international locations,
a brand-new 2015 Fiat 500,
and $100,000.
This is Face Off.
[exciting music]
Sync and corrections by n17t01 www.addic7ed.com
- Congrats on that win. - Thanks.
I got to celebrate for about five minutes,
until I found out Rob was going home.
Adam and I are the only ones left on Team Rayce,
so it's time for other teams to start losing people.
All right.
I hope I can keep bringing it,
but it's gonna be tough.
Whiskey A Go Go.
That's cool.
(Adam) This place is legendary.
All right.
So I'm pretty excited for this.
_
Hey, guys.
Welcome to the most legendary music venue on the Sunset Strip,
the world-famous Whisky A Go Go.
Since 1964, this stage has featured incredible performances
from iconic bands like The Doors,
Led Zeppelin, The Ramones, and The Sex Pistols.
Wow.
Are you guys ready to rock?
Yes!
Good, because this week's Spotlight Challenge
is inspired by a true master of the macabre.
He has spawned some of the most terrifying characters
in the history of horror films,
including Candyman and Hellraiser's Pinhead.
Clive Barker.
Wow.
[laughter]
Not only am I a huge horror fan.
I am a massive Hellraiser fan.
So I'm pumped.
So in the 1980s,
Freddy Krueger, Jason Voorhees and Michael Myers
terrified audiences as silent killers
hell-bent on destruction.
However, in Clive's now-classic film Hellraiser,
he essentially redefined the cinematic villain
by making Pinhead intelligent, eloquent,
and, best of all, stylish.
Perhaps it's best if you hear it from Clive himself.
[laughter]
Hello, Face Off contestants.
I'm Clive Barker,
and I'm very excited about this challenge.
When I was making demons for a new age,
it was the punk clubs I went to
where I looked for fresh inspiration,
fresh blood if you will.
I would love to see you create something new.
go to the very cutting edge of current fashion,
and marry that with images that are startling and terrifying.
Have fun.
So for this week's challenge,
like Clive, you'll find your inspiration
from today's futuristic fashions.
(Emily) Oh, this is so cool.
Your Spotlight Challenge is to choose
one of these stunning avant-garde outfits
and use it as an inspiration for your very own
stylish and intelligent horror villain.
Your villains will be wearing these outfits
on the reveal stage.
And by choosing the outfit,
you're also choosing your model for this week's challenge.
Jamie, you're up first.
Megan.
Matt.
Sarah.
Elena.
Alex.
Naele.
Augustine.
Kerstin.
Come on, Kodi.
All right, guys, in true muse fashion,
your models will stay with you while you work on your designs.
Good luck.
Bye.
Turn around.
I'm looking at Kodi's outfit,
and I find a shape that is just different,
and I want to run with it.
So my concept is a fallen angel
who is cursed with a cage around his head.
So your head will be, like, right there,
and this is gonna go over it.
It's almost spider-like.
- Mm-hmm. - You know?
So I was thinking we can go black widow-ish.
Yeah.
My concept is a female
who has been scorned by men,
so she attracts them through her beauty
and then kills them.
I'm so excited.
(Julian) Such a weird combination,
old relic necklace and the futuristic jacket.
This character needs to be intelligent,
but also scary and creepy.
So my concept is a demon
that goes after people that wear this amulet
and kills them.
His whole head is one giant mouth
with finger-like appendages
that rip the souls out of its victims.
_
Yeah.
Look at me.
(Kelly) Ooh, that's cool.
My character is very vain,
very obsessed with plastic surgery.
Then she starts going under her own knife.
I also want to give her a mask.
So she appears to be super sleek and stylish,
then she takes off the mask
to reveal the ultra, ultra nastiness.
With how fierce you are, girl, it's gonna be so rad.
[laughs]
All right, thanks a lot.
- I'll see you soon. - Yep.
(Emily) We get to the lab.
We have 5 1/2 hours today.
And I really want to sculpt to finish the face
and block out that extreme cowl,
because if it doesn't look good in clay,
I want to have enough time to scrap it
and create something else.
Clive Barker said, "We want to see something different."
So I'm gonna try something different.
- Ooh, hey. - Hello, guys.
That's a cool costume.
Right now I don't have a solid concept.
I'm feeling like there's not a whole lot
that I can do with this without going too obvious.
So I'm getting a little frustrated.
So that's what I'm stuck with.
No, it's not "stuck with."
You've been given an opportunity to expand on it.
Stephanie is having some serious conceptual problems,
and I implore her just to take some time
and think about it before starting to sculpt.
I kind of want to just start throwing clay down and playing.
I think this is a cool challenge,
to kind of create things that are just bizarre.
Mine has this big silver tutu,
so I come up with this metal-like surface
that is encapsulating the back of her head,
which is gonna be this leather-bound skull cap.
And I'm feeling pretty good about it.
I think I've landed on a theme of poisons.
My character's going to be a snake charmer
who has turned killer
and has developed an immunity to venom.
He's going to look sickly and anemic and have boils.
And to suggest his intelligence,
I've actually come up with this grid-like pattern
down both sides of the arms.
It's a means of cataloging
all the different poisons that he creates.
The one thing I'd suggest is making bigger grids...
Yeah.
Just so from afar it doesn't
read like a busy mess kind of a thing.
Does that make sense?
Yeah, good point.
(Darla) I picked the costume that screams "post-apocalyptic."
And I'm doing a demon character.
But I want to make sure visually he looks completely different
than what you would necessarily expect of a demon.
Hi, everybody.
- Hey. - Hi.
So it looks very interesting.
(Adam) She's pretty much a South American goddess
that was resurrected,
and she kills people by turning them to gold.
(Michael) Are you meaning this as a hat?
Some kind of headdress, but it's also a part of her.
I would blend this off onto her nose,
and then it actually becomes her.
Okay.
She comes out kind of seeming
all nice and pretty and beautiful...
Right.
Then reveal this nasty, nasty mouth.
You could even put a little blood there
and shoot a little water,
and it'll just kind of drip.
Then it really looks horror when that piece comes off.
What are you pounding on?
- A cowl. - A cowl.
I've been battling the concept all day.
Let's see what you're doing there.
Right now you've got a head piece
with nothing going on here.
An interesting thing to do would be
put little hooks on the ends of these things
so it looks like it's hooked
into her skin all the way around.
Yeah, that's an idea.
- Go for it. - Ehh...
Go for it, you know.
Listen.
You're on the way; you're on the way.
The idea is, put one big hole in the back of his head.
It's almost like he has these appendages
that sucks the souls through this hole.
Mm-hmm.
I think you need to think somewhere
of having something into it
that is either pulling skin
or something that is going to read as horror.
Mm-hmm.
Thanks, everybody.
- See ya. - Thank you.
Bye, thank you.
[sighs]
I'm really embarrassed that Mr. Westmore came through
and I didn't have anything to show him.
_
It's frustrating because I feel like this should be my element.
I'm a haunter.
I do scary all the time.
This shouldn't be that hard.
[exhales]
I can't not make anything.
I can't say, "Oh, give me another day to think about it."
Stupid.
And at this point in the competition,
if you don't make something really cool,
you could be going home.
(Stephanie) So, it's day one of our Clive Barker challenge,
and I'm having trouble, like, nailing down
a solid concept.
And I'm just super frustrated.
What parts of that do you like?
(Laura) I'm definitely worried about Stephanie.
She's such a good concept person,
and for her to struggle, it just breaks my heart.
I decide to just keep concepting
for the rest of day one.
No more sculpting.
I have 9 1/2 hours tomorrow.
And hopefully I'll get it done.
Do something like this,
not just-- boom-- into it.
It's just that subtle change of form.
(Anthony) Jamie is having some trouble refining the face,
so I keep pointing out some things just to clean up.
Maybe you want to get a little bit more.
Oh, yeah, down--
- In here. - Uh-huh.
And we talk about incorporating
elements of the spider
to be a little bit more into the Clive Barker universe.
We'll see.
[laughs]
Just keep refining; get all the details.
- I got to get going. - Okay.
And have fun, most importantly.
Okay.
- I'm leaving. - [fake weeps]
It's time for the coaches to leave,
and I'm pretty confident
with what both Adam and Logan have done today.
But at the same time,
I only have two artists left on my team,
so I'm really not feeling relaxed in this stage.
Just win, okay?
- Yeah, Yeah. - Just win.
Have fun.
How you feeling about it?
(Julian) Pretty good.
Struggling a little bit.
Think I'm headed in the right direction, though.
I decide to follow Mr. Westmore's advice
and work on making the face look a little less human--
a lot less human.
Have to do a lot more detail sculpting,
but I feel really good about this concept,
and I think I have a good chance.
I'd really like to win this one.
Yeah, same.
30 minutes, everybody.
That's time, everybody.
It's day two, and I'm feeling a little better than day one.
I know what I'm gonna do now.
Basically it's gonna be gross skin,
like, peeling up and being, like, hooked forward.
Ooh, okay.
My concept for this character
is some sort of seer,
and then the way she kills is that she tells people
their futures and how they're gonna die,
and if they try to avoid it,
then she ends up killing them herself.
The only advice I'd give
is to try to keep her somewhat beautiful.
Pretty, yeah.
I have to have something sculpted, molded,
and ready for foam today.
So I decide to just go with a cowl
that's manageable for me in one day.
(Logan) Today I've got a lot to do.
I have to get the face done.
I also have to get these arm pieces done.
These are gonna be, like,
the different poisons that he injects...
Mm-hmm.
And the different things it causes?
Yeah.
I'm sculpting with monster clay,
which is a wax-based clay,
and it's great for fine detail.
You can melt it with a heat gun or torch,
and you can get certain effects that I think will really help
with the character design that I've come up with.
I like what you're doing here.
(Anthony) I think it's cool.
I'd start working on the face, you know?
Well, I was gonna mold this and then go work on the face.
So I've got my cowl sculpted.
Now I need to get it molded as soon as possible,
because I still need to make a face piece.
The overall design for Ben's cowl is really awesome.
Hopefully the face looks equally cool.
No, the string isn't long enough.
For the cowl, I want to fabricate a cage
that interlocks with the face.
And I'm really inspired by string art.
One thing that was really important
is, like, make sure it's something
that Clive hasn't seen before.
- Yeah. - So, I just--
(Laura) I haven't seen anything like this before.
It's going to have a wonderful profile and silhouette.
Sweet.
(Adam) I finish my cowl,
and I'm actually really pleased with it.
Now I have to get it molded and out the door.
So it's really important that I take my time,
because it's gonna be a two-part mold,
and if one half is slightly overlapping,
it'll lock my mold.
It doesn't look like this is all stretched skin.
Mm-hmm.
Darla is still kind of struggling with her cowl.
She's sculpting the stretched skin idea,
but, for whatever reason,
it doesn't seem to be translating.
So I just grab a head and I start sculpting on it
to show her how to sculpt wrinkles.
These wrinkles, they go all the way.
Yeah.
We're leaving.
All righty.
Cool, good luck.
- Awesome. - Okay?
Sweet, thank you.
Leaving day two, I think everybody
seems to be in a good place,
but I'm still worried about Jamie.
Her face has to look beautiful
in order for this character to work,
and right now she still has a long way to go on it.
- Bye, guys. - Keep kicking ass.
Good luck.
I get my cowl molded, and I start to open it.
Oh, shit.
I notice that my mold's cracked.
And I'm like, shit.
I'm trying not to freak out.
I'm looking at the crack in the mold,
and it's a pretty big crack.
I mean, I've seen some big cracks.
This is the biggest crack I've seen.
This is my only piece,
and if I mess this up,
I'm gonna go out on stage with nothing.
So this needs to get fixed.
(Adam) Mold cracked in half.
It's day two of our horror villain challenge,
and my mold's cracked.
I'm freaking out because it's just all I got.
This is my only piece.
You got to be fucking kidding me.
I grab a plumber's epoxy and use it to seal the crack.
I got it fixed, but I'm worried
I'm gonna have a lot of patchwork
on application day.
(Ben) Man, you need to start molding.
I know.
Last time I was in an individual challenge,
I sacrificed sculpting detail
in order to get the molds done on time.
It was a really bad idea.
I don't want to do that again.
So I don't see how you're not freaking out.
What's the worst that could happen?
You're not gonna get your cowl out.
Ben's looking over at me and thinks that I'm crazy,
but I'd rather risk it.
I just want to make sure I put out something good.
So now it's time to work on my futuristic surgical fetish mask.
It needs to be smooth, sleek, and sharp
to reveal the nastiness underneath.
The mask is gonna work with my wardrobe
to add that Clive Barker element to my character.
Looking pretty freaking cool right now.
That's time, everybody.
(Stephanie) I'm feeling okay.
I've got a general idea of what the character is
and what it's going to look like.
I just have to attack it for application day.
- Nice shirt. - You too.
(Kelly) It's application day.
We have four hours in the lab,
one hour for Last Looks.
[gasps]
Oh, my God.
My face is a frickin' disaster.
How did this happen?
I don't know, just could be one of those things.
It has the worst second skinning
I have ever encountered.
So you can...
Oh, my God, that's so--
...work it in.
(Anthony) Kelly's face is mutilated.
but to be honest, I think it could help it.
with the type of character she's doing,
That could be a happy accident,
because if someone's continuously cutting themselves,
it wouldn't be in such perfect symmetry.
It would be a little bit more sporadic and spontaneous.
But, you know...
It's okay; it's okay. I can work with it.
- She's mutilated. - Yeah, she's mutilated.
Got some of those cuts, work it, part of your story.
It might make it more in the horror realm
than the alien realm.
(Kelly) Yeah.
[laughs]
'Sup?
- How you doing? - Hey.
So you have, like, the back of your head too.
Oh, it looks like a spider body.
Yep.
These are all test samples of poisons on your arm.
Ohh.
Today I'm starting with the arms.
I know that I have to be very delicate,
otherwise I'm gonna be tearing my prosthetics apart.
Rotate in just a little bit.
Thank you.
So one arm at a time,
I lay it down very carefully.
They're fragile,
especially where the joint bends,
so don't do any excessive movements.
I just hope they're able to hold up
between now and the reveal stage.
I'm cooling down the black mesh
into the eye area of the face prosthetic.
Hopefully it will block out my model's eyes completely
and he'll still be able to see through it perfectly.
_
It came out pretty good.
I am super relieved,
because the crack I was trying to fix on the cowl mold
didn't even show up in the piece.
So, as far as these eyes,
push them out and then cut them?
This is what I'd do.
Right now we're just making sure
the eye slits are big enough.
I'll come in, and then I'll kind of ride the line.
See what I'm doing there?
Yeah.
Come under your nose.
I'm bouncing back and forth
between sponging, airbrushing,
and flicking just to break up all of the solid colors.
All right, tilt your head up for me.
I'm having to spend a little more time
on the area where the cowl comes over the eye,
because certain parts are lifting
and I have to glue it back down.
Stupid things.
It's looking a little rough,
but I can't let myself get frustrated.
Are you gonna paint this whole thing black?
Well, I was thinking of doing, like, black under there
and then a lighter tone on the top.
The paint scheme I'm gonna go with is,
dark colors come in across the cowl piece
all the way to the front of the face
and keep the front very light,
because I don't want to take away
from the skin color aspect of it.
And then here on the face, this his gonna be fun.
I'm a little worried about her pieces
looking like realistic skin texture,
but hopefully she can pull it off.
Keep it scary but pretty.
Yeah, I like that.
Oh, gosh.
(Emily) I'm fumbling with the webbing part
of my cage that's on top of the cowl.
And the left side starts falling.
So now the string is falling off,
and it looks disastrous.
I'm going home for this, I'm telling you.
This is atrocious.
I look at the clock.
I do not have time to fumble with this.
So I scrap it, and I decide to throw feathers into it
and just leave it.
And I'll work with the feathers later.
Ten minutes.
We're running out of time,
and I'm so far behind on paint,
I'm worried that I won't be able
to actually complete the full beauty makeup.
It's gonna crack.
You think it's gonna crack?
I'm trying to do it as fast as I can,
'cause there's a lot to cover on this thing.
That's time, everybody.
(Ben) A big part of my concept is the beauty aspect of it,
so it's really important to get that down.
But now I've got to wait until Last Looks,
and now I'm worried.
Come over here.
Get out of the way.
Let's get this done.
It's Last Looks; I have one hour left.
And I have to finish my paint job.
The highlights and shadowing aren't working.
The skin tones aren't matching.
I'm just struggling.
Oh, God, all this disease that I got to paint.
I got to do your eyes.
I'm rushing around like a madhouse,
trying to get this beauty makeup done.
Close.
It's not gonna work.
(Kelly) These teeth are not fitting.
All I can do right now is make that mouth look nasty.
30 minutes.
All right, time, everybody.
Thanks, Kodi, good luck.
I'm really worried,
because it's not as finished as I wanted it to be.
So I'm just hoping that I'm at least safe.
Welcome to the Face Off reveal stage.
As you know, one of you will be going home tonight.
But before we see your creations,
say hello to our series judges.
Glenn Hetrick.
Good evening.
Hello.
Ve Neill.
Hello, everybody.
Hello, Ve.
And Neville Page.
Hi, guys.
Hello.
And joining us tonight is a very special guest.
He's the co-head
of Clive Barker's production company,
Seraphim Films.
Please give a warm welcome to Mark Alan Miller.
[applause]
Pleasure to be here.
Thank you so much for being here.
Thank you for having me.
I'm extremely excited.
He is Clive Barker's right-hand man,
so to hear what mark has to say
is gonna be really interesting.
All right, guys, this week your Spotlight Challenge
was to choose an avant-garde outfit
to inspire a stylish and intelligent horror villain
in the vein of Hellraiser's Pinhead.
So let's take a look at your creations.
(Emily) I'm nervous.
It looks a lot different than everything else,
which could be a bad thing or a good thing.
I definitely could have done way better
on this challenge.
I know I'm on the bottom.
(Darla) I am a little bit worried
that maybe the character is not scary enough.
But I am happy with the way it looks,
and hopefully the judges like it.
(Adam) It is the best thing I could picture in that outfit,
so I'm like, "All right, cool, mission accomplished."
(Jamie) From far away, I like the paint job.
but up close, it's really rough.
They're gonna see all the mistakes in there.
(Julian) Even from a distance, I can see
how much he's able to emote with his face.
just giving this really creepy vibe.
And I'm hoping the judges agree.
(Ben) She's got this creepy vibe to her.
I see the white face with the silver tips.
And overall I'm pretty happy.
I don't know whether or not to think
I am unique in the way it looks
or if I'm completely off.
I don't really know.
(Kelly) She looks nasty!
And I'm like, "You know,
you're pretty fucked up, Kelly.
Did all right."
[laughs]
All right, judges,
why don't you take a closer look?
There's no texture in the prosthetic piece.
(Mark) It's not so much monstrous.
It's more sympathetic.
(Neville) What is going on here?
I don't know, but it's cool.
It's beautiful coloring on it.
Yeah, I love the paint job.
This feels like an alien character.
I was gonna say the same thing.
Yeah.
I do love the originality of this in sculpting.
I would have liked to have seen a lot more of this gold
being brought down onto all these highlighted areas.
(Glenn) Oh, jeez.
This does not even resemble skin.
This chin and nose and forehead
don't say, "Clive Barker."
(Jamie) I'm mainly worried about the paint work.
It's too flat.
This could be a disaster.
(Ve) This does not even resemble skin.
(Jamie) I am freaking out.
The paint work is too flat.
The quality of it isn't where it needs to be.
This is even better close than it was far away.
Yeah.
This is the first time I'm scared today.
And that's good.
I love these weird asymmetrical shapes.
All of these notes tie into the wardrobe,
and it's the only makeup
that addresses that so completely.
(Neville) Oh, yeah.
Gets a little soft and full through here,
but up in here, that's really well-handled.
(Glenn) Oh, the eyes, it's creepy.
(Ve) She is creepy.
We have pain.
(Mark) We have disgusting and sexy.
I love it.
Oh.
Okay, the judges have scored your creations.
Let's find out what they thought.
Adam...
Logan...
Darla...
Congratulations, because you are all safe
and can head back to the makeup room.
Thank you.
Oh, my God.
The rest of you were the best and the worst this week.
and the judges would like to speak with each of you
to learn more about your work.
Julian, you're up.
(Glenn) Give us the backstory of this character
and how Clive's work inspired you to design this.
Well, the first thing I noticed
when I chose the costume was the amulet,
and I figured that that was some sort of cursed object,
and whoever wears it, he comes after them.
And his whole head is a second mouth
that rips the souls out of his victims.
I am absolutely thrilled with what you did this week.
I am a huge Clive Barker fan,
and I think you did an amazing job
of working within his world.
You're obviously a Clive fan, and you know your stuff.
(Glenn) Well done.
Thank you.
On a scale of one to ten in the creepiness,
he is a 15 1/2.
I love the paint job.
I think this character was very successful.
Thank you.
I don't think it's that creative.
I think it's a very good "now" design.
I don't think it's a very next-gen version
of Clive Barker world.
He's definitely scary.
I do love the idea of the mouth.
I love the jaw line.
He's very cool.
Thank you.
Julian, if you'd please step back.
Thanks.
Emily, please step up.
Would you please tell us how your avant-garde wardrobe
inspired your character?
I had the crow feather and the chain mail skirt.
So I decided to go with a fallen angel.
This is a great makeup.
Thanks.
(Ve) I absolutely love the paint job,
and the silhouette on this character is phenomenal.
Oh, thanks.
What you've achieved is something that's iconic
and extraordinarily memorable.
I think this is beautiful.
Thank you.
I'm not quite sure it falls into the Clive Barker world,
but I do think it is something extraordinary.
Thank you.
Emily, you can step back.
Thank you.
All right, let's talk to Stephanie.
Okay.
So tell us about your Clive Barker character
and how the fashion motivated some of your choices.
She's basically, like, a seer,
but she was cursed into, like--
I don't know, it just was a much more twisted form
than she had originally intended.
I don't think you know
what it is that you were trying to execute.
It's so nonspecific in terms of sculptural form
that I simply do not know what I'm looking at.
Yeah.
Another huge problem with this
is, it is not conducive to your model's facial features.
You've weakened her chin, which evokes sympathy,
and it does not use her jaw line or her nose
to convey any of the things that we were looking for.
Stephanie, please step back.
Kelly, you're next.
Could you tell me a little about your character?
(Kelly) She was obsessed with plastic surgery,
so she is just continuously under her own knife.
Well, I'd like to applaud you for marrying sex and violence.
[laughs]
(Mark) That's definitely a big part of what we do.
We have a new Hellraiser
anthology comic book coming out,
and I could very easily see this character
in one of those stories.
Oh.
The integration of your wardrobe
through that vacu-form thing
is an astounding touch.
It brings the avant-garde into the Clive Barker world.
Thank you so much.
That green dress and the red hair
are phenomenal together.
She is the most disturbing thing I have seen in ages.
Kelly, thank you.
You can step back.
Yeah, girl.
Jamie, please step forward.
Please tell us how your wardrobe
inspired this Clive Barker character.
I thought black widow lady
who attracts people through her beauty.
The legs are coming out,
grabbing the rest of her face.
I am not thrilled with this makeup.
The spider growing out of the back of her head
and grabbing her skin,
it just feels alien/monster-y
in a way that's not part of the Clive Barker mythology.
That's okay.
(Ve) This paint job is completely flat.
It doesn't look like skin.
This is a failure this week.
Okay.
There's stuff on it that says
it's a Klingon, it's a Borg,
not at all in the world of Clive Barker.
It's very problematic.
Jamie, please step down.
Ben.
Would you please give us a little backstory on her?
(Ben) She was a fetish model,
always worried about her looks,
and now she reaps the souls of other people who are vain.
She is really quite exquisite when you get up close.
I love how you use the inspiration from her bodice here
and put that in her cowl as well as her neck.
You brought the fashion into the makeup,
which is really a great idea.
Thank you.
(Mark) I love the story.
I love the corrupted porcelain doll look.
And I know Clive said to go to the avant-garde,
and you, perhaps more than any other, have done that.
Thank you.
I absolutely love the back of the head.
It's so cool.
And I appreciate how smooth that is
and the detail that you put into it.
I think it's a brilliant and daring combination
of all the different things
in what is an extraordinarily complex challenge.
Thank you.
Ben, please step back.
All right, thank you, guys.
If you'd please head back to the makeup room
while the judges deliberate.
All right, judges,
let's start with the looks you liked the most tonight.
How about Julian's work?
(Glenn) He hit all the right notes for me.
(Neville) It's the one that is the most standout
in the Clive Barker world.
(Mark) Up close, definitely one
of the most terrifying of the bunch.
All right, let's move on to Emily.
(Ve) The silhouette of that character
is just unbelievable.
It's freaky.
I mean, she's amazing, this kid.
it's an incredible makeup,
but it's nowhere near the Barker universe.
All right, let's move on to Kelly.
(Neville) Talk about a makeup that feels
so perfectly suited for this challenge.
(Mark) It was scary.
It was sexy.
The story behind it was maybe my favorite of the night.
I agree.
All right, judges, let's move on to Ben.
(Glenn) I think that it is the most astute treatment
of bringing fashion into the makeup.
(Mark) It's got pleasure and pain.
It's got grace and grotesquerie.
And that's all that we can ask for.
All right, judges, let's move on to the looks
that didn't quite work for you this week.
How about Stephanie?
(Glenn) It is not avant-garde.
It sure as hell isn't Clive Barker.
And it's not scary.
I don't think she has any idea
where she as going with it.
I don't think it was executed particularly well.
All right, let's move on to Jamie.
(Ve) The paint job was atrocious.
It did not look like skin.
And the black widow wasn't even painted properly.
It had nothing to do with Clive's world at all,
even on a technical level.
The chin and the nose look like melted wax.
All right, judges, have you made up your minds?
Easy.
Okay, let's bring them back out.
All right, Glenn, tell us about tonight's top looks.
Julian, you gave us a sophisticated
and intelligent horror villain
that definitely felt like it was in the world of Clive Barker.
And Kelly, your character and concept told a great story,
and you did a fantastic job tapping into Barker imagery.
And Ben, we were thrilled by your high-concept thinking
and loved the way that you integrated your costume
into the back of the head.
So who is the winner of this challenge?
The winner of tonight's challenge is...
All right, who is the winner of this challenge?
The winner of tonight's challenge is...
Ben.
[applause]
While some of the characters may have better captured
the classic Clive Barker aesthetic,
you gave us a glimpse into the future.
Great job.
Thank you.
Second win for me.
It's extremely cool,
especially since this is a Clive Barker challenge.
I'm sure that he's gonna see this creature,
which feels awesome.
Ben, congratulations.
You, Julian, Emily, and Kelly are all safe
and can head back to the makeup room along with the coaches.
All right, that means the two of you
are on the bottom this week,
and one of you will be going home.
Please step forward.
Glenn, tell us about the bottom looks.
Stephanie, the prophet seer concept
could have been very interesting,
but you let your indecision compromise many of the aspects
of your final makeup.
And Jamie, we get wanting to draw
on the spider vibe of the outfit,
but that concept was heavily undermined
by all the technical issues with your makeup.
So who is going home tonight, Glenn?
The person going home tonight is...
Jamie.
Despite all your best efforts,
it seems like you just couldn't pull all of your ideas together
to deliver a clean makeup this week.
Jamie, I'm so sorry, but you have been eliminated.
Stephanie, you are safe this week
and can head back to the makeup room.
Jamie, I personally feel that we're quite fortunate
to have experienced your talents on Face Off.
And I know that this week it got a little away from you,
but I know that you've also got a tremendous amount left in you.
Thank you.
Jamie, it's been so great having you here with us,
but if you'd please head back to the makeup room
and pack up your kit.
Thank you, guys.
- Good luck, Jamie. - Good luck, Jamie.
(Jamie) Thank you.
I'm really surprised that I'm going home.
I feel that I have a lot more to show.
Jamie?
I've met some amazing people, and my coach is amazing.
You've shown you can do great makeups.
You know, you've progressed throughout the season.
So continue growing as an artist.
I came out here to push myself and break out of my shell.
I'm upset, but at the same time,
I'm excited to look ahead.
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