04x05 - Music Legend Busts & Mini Musical Instruments

[bunniefuu]

It's Music Week,
as our nine remaining potters
get to tackle

busts of some fabulous
music legends,

and, as always,
I'm here on hand to help.

Welcome to
The Great Pottery Throw Down.

Yee-haw!

Last week...

- Whoo!
- ...naked raku.

Look at it burn.

Seriously, like,
the adrenaline then.

Hannah's pair of vases
earned her her first
Potter of the Week.

And in a surprise twist...

The good news
doesn't end there.

...nobody was sent home.

We're expecting you all
back next week.

Now, Music Week...

...sculpting busts
of musical legends...

I'm only doing to there.
They feel ample.

...and tackling a miniature
instrument spot test.

Just madness, isn't it?

...to decide
who'll top the charts...

Oh, my gosh,
that is wobbly.

...and who'll be forced
to face the music.

I think I've just broken that,
so I'll just give up.

Okay, I've had enough.

It's Music Week,
and the potters
have been assigned

their very own musical legend

to sculpt into
a clay masterpiece.

I've got Dolly Parton.
Whoo-hoo!

I'll be singing
"9 to 5," you know,
lassoing a guy.

I was really happy
to have Dame Shirley Bassey
because she's a Welsh girl.

She put Wales on the map,
and she's beautiful.

I was really, really lucky
to get given Ozzy

'cause I am
quite a big fan.

Um, me, my dad
and my brother

used to listen
to Black Sabbath
all of the time.

We had a cassette tape
in our car,
and it was called

"Songs that make
Mum's ears bleed."

I got Bruce Springsteen.

I've heard the name
but never heard
the music,

so I'm trying to channel
Bruce's energy,

uh, wearing
flannel,
bandana, yeah.

Hopefully
something will help.

So, the potters know
which music legends
they are sculpting,

but to get them in the mood
for the challenge,

last night
at their potters' abode,

a certain megastar of music
had a little surprise
for them.

Hi, potters, it's Dolly here.

I wanted to say how wonderful
that your next challenge

is sculpting
a music legend,

and I'm just thrilled to know
that one of you is gonna be
making a bust of me.

Well, I've got big hair
and big--

Well, you're gonna need
a lot of clay.

Good luck.
Love, Dolly.

- Yeah.
- That's awesome,
though, innit?

But will they be
able to deliver a sculpture
of legendary status?

Good morning, potters,
and welcome back
to the pottery.

This week, on Music Week,
the judges would like you

to sculpt a bust
of a musical legend.

Now, these don't want
to be characterisations
of your music legend.

These wanna be the real deal.
Think about those shoulders.

Think about
the whole structure.

They want to be lifelike.

We're gonna know
if they're not,
let's face it.

Okay, then, you have a
total
of six and a half hours,

and your session starts now.

The potters' sculpture skills
will be pushed to the limit

in transferring a 2D image

into a full bust of head,
neck and shoulders.

It's quite hard.
Normal photographs of
people

are normally from the front
or the side,

but they're
never from the top,
and they're not from the back,

so, uh, I've got limited
angles
to work off of.

The potters can use
a former or armature

to help them
build their busts.

So, it's basically
lots of newspaper

and a stick running through
the whole thing.

There's some balloons
inside of here

so I can form the shape
but keep it hollow,

and later on,
pop the balloons
and dry the inside.

Can you guess
what they're gonna be?

I'm gonna fix them down
just so I can put my clay
over the top.

It's the longest
I've ever stared
at a pair of boobs.

So, Rich, this is
- music legends.

Yeah. Our potters
have got to build a
bust

- which is
40 to 50 centimetres high.
- Yeah.

And technically speaking,
that's no mean feat.

It's a big
piece
of sculpture.

If it were me doing this,

I'd wanna get them
up there quick,

get the basics--
the head, the shoulders--

and then just start paring down
on those observational skills.

I mean, Sir Tom Jones,
one of the most
recognisable people,

I would say, in the UK,
if not the world.

I mean,
that million-dollar smile,

the wonderful
beard,
the hair.

You know, there are so many attributes that make him

We want to be able to
walk into that judgment room

and recognise
who they've made.

I don't wanna be looking
at an Ozzy Osbourne

and someone telling me
it's Dolly Parton.

- That'd be really bad.
- It'd be tragic.

So I'm trying to get a base coat on
now against the cardboard and tape.

At the minute, just trying to get as much clay as I can

and then once I've got it
roughed out,

I can really start to channel
my Prince of Darkness.

Only when the formers
are completely covered in clay

can the potters begin
to sculpt the facial details
of their music legends.

Completely different.
That's gonna be the
challenge--

actually capturing
the essence of the person
you're trying to do.

I'm doing Ed Sheeran.
These are my sketches of Ed.

Well, they're not sketches,
they're actually traced
'cause I can't draw.

- Look at you.
- I know.

I'm glad somebody's making
an effort around here.

Ozzy Osbourne.
Absolutely brilliant, yeah.

- So, are you a fan?
- I am indeed.

I wanted to channel

- my inner Prince of Darkness.
- Down to the fingernails.

Even down to the piercing.
Was it already there?

Uh, no, it's a fake one,
and it keeps falling out,
so...

Is that why
you're talking like that?

I'm gonna
talk like this...

But I can rearrange it
and put it on the other side.

If it gets uncomfortable,
I can just swap it.

What have you got
coming up through Ozzy?

Well, I've put
a wooden stick

straight the way up
with a little base on it,

and there's some newspaper
under his shoulders

- and newspaper under his head.
- Right.

But underneath everything,
there's a bit of thread

that runs, like, all
the way
around the armature.

- So I'm thinking
if I need to--
- I see.

If there's an absolute
disaster
and I can't get it out,

I can pull the thread up,
which will take
the piece in two.

- Then I can stick it
back together again.
- That's a really good idea.

But Henry's not
the only Ozzy in the room.

His clay Prince of Darkness
has competition.

I'm really happy
to be doing Ozzy.

I quite like that he's got
marks of his life on him,

so I'm gonna try
and put those into it.

My plan is to make him solid,

so I think I'm the only potter
doing that today.

Everyone else
is using an armature.

I've not used
an armature before,

so I'm just gonna
do it solid, scoop it out.

Not really done that before
either,

but I feel like that's
the more likely thing to work.

While Adam slowly builds Ozzy
from the shoulders up,

Sal has a dame to tackle.

It's just terrifying
that it's such an iconic
woman,

a very beautiful woman,

and I might make her look like
somebody stood on her head,

which is kind of
terrifying,
really.

The judges are expecting
a convincing likeness,

and if the potters
are to achieve this,

they must meticulously
map out the proportions
of their legends' faces.

So that is actually
Ozzy's profile,

so when I start
building in the face,

I'll be able to get
an exact silhouette.

I'm not concentrating
on the boobs.

I should respect them
and give them

as much attention
as they deserve,

but for now,
I'm just concentrating
on the face.

It was important
to get some of the bust in.

It's part of Dolly, isn't it?

She said, "I hope you've got
enough clay."

What did you think
when you saw the message?

- I was amazed.
I couldn't believe it.
- Wasn't that so cool?

- Such a big megastar...
- I know.

- ...sending us a message,
little potters.
- I know.

- All hail Dolly.
- She's the hostess
with the most-est.

How are you doing
with her "mostesses"?

Uh... It's really difficult.

I'm not happy with this,
actually.

I think the head's
just too big in proportion

to what her shoulders
are gonna be.

So I need to bring
the shoulders out more

and just work
with what I've got

and just make
a larger-headed sculpture.

It'll be mostly hair,
but then I need to make sure

this face is small enough
as well.

I'm shaping the face right now
and adding the ears.

Attempting to
build the foundations
for facial features

with wet,
heavy clay is risky.

It adds weight. Each time
you add more clay on top,
it adds weight.

Makes it more likely
to crack and break.

So it's crucial
the potters do this

while their busts are still
supported by their former.

So we're sort of getting there
with the nose and the chin.

And I think
I'll move on to lips next.

Man, I need to bring
his brow out, like, loads.

Only once
the former is removed

can those characteristics
be refined.

The head shape's
about right now.

I know where
her ears are gonna be.
I'll put those on next.

I've got the nose.
It's only an approximation,

but it's the right size
width-wise,

so I just wanna concentrate
on getting the basics right
for now.

And pray to God
I don't run out of
time.

As Sal worries about time
to construct her Shirley,

Alon is flying ahead with
his Bruce Springsteen bust.

You've got that up
really, really quickly there,
haven't you?

Yeah, a good former
goes a long way, so...

Were you a fan of Bruce?

I don't know who he is.

That's sacrilege.

I'm so sorry, Bruce.

Have you
practiced this before?
- So I've done the face.

Didn't quite get it
to the likeness that I wanted,

'cause it's just
capturing that person
is so, so challenging.

I would've liked
to put my own style on it,
like, sculpt it,

chop it up into pieces
and then rearrange it
in a different configuration.

- That could've been,
I think, really cool.
- No, don't.

- Mushrooms out of his head. No?
- Really, don't.

- All right,
we'll let you get on with it.
- Thank you.

- And we'll see you later.
- See you later.

Added about
five centimetres of height.

When I did my measurements,
I forgot that the clay
obviously is gonna shrink.

To fulfil the brief,
the potters' busts must be

forty centimetres
from base to head,
including hair.

That is how big
her head is in real life.

So, see,
I've got a way to go.

The more clay they add,
the thicker their busts
become,

and they risk them not drying
and cracking in the kiln.

He looks a bit
dishevelled at the moment,

because I'm trying to approach
doing this in 3D
like I would do a drawing.

So I've done lots of circles,
which is like
each muscle of the face.

Hopefully I can do
Tom Jones justice.

It's getting
the characterisation, really.

They don't want a caricature,
but they do want to be able
to identify.

- Hi, Peter.
- Hi, judges.

Which musical legend
are you sculpting?

Uh, Sir Tom Jones.

- Yes.
- The boy from Pontypridd.

- And can I ask
why, why, why...
- Why?

...you're so happy
to be sculpting Tom Jones?

Well, I love Tom Jones.
He's my era.

And he's one of those legends

that has continued
to be a legend.

You're about to
put the nose on,
by the looks of it.

I am, yes.
The nose is going in.

So if I pop the nose on
and then I'll turn it round,

'cause it must look
a bit strange
from where you are there.

If I... It looks a bit bizarre
just with a nose on like that.

Looks like Mr Potato Head.

- Does at the moment, yeah.
- Looks like a Muppet.

Siobhán, you fill me
full of confidence.

You know, I don't know
what it is.

- How long have we got?
- Potters,
that's two hours gone.

There's obviously a lot to do,
but I'm not in panic mode yet.

Little bit of panic going on.
Um, still loads to do.

I'm just trying to get
all the elements in.

When I look at what's going
on,
I'm cacking my pants here.

I'm pretty happy
with the progress.

Don't think it looks
like him too much,

but hopefully
with the hair and the eyes,

it'll sort of
bring it together.

Have you showed them
your little guitar strut?

- No, I'm not doing that.
- Oh, come on.

Go on.
He's been practising this.

He has this, like,
guitar stance where he just...

Just stands there,
like, legs apart.

That was perfect.
He's gonna be so proud of
that.

I saw Bruce in Cardiff,
actually.

Three and a half hours.
Didn't go off
until the lights come on.

Even then,
they were dragging him
off stage.

Right.

Aim of the game in this hour

is to get as much detail
on his face as I can.

This is the first time that I'm doing
anything remotely related to my country.

And what a way to do it,
though, innit?

Dame Shirley Bassey
I'm making.

It's an absolute privilege
to sculpt her, actually.

She's very glamorous.
Lovely big smile.

Styled hair.
Nothing like me,
so...

Sal's also
struggling to capture
the glamour of Dame Shirley.

You've really captured
the pole out of
the top of her head

she's just notorious for.

- So what is this?
- This is part of the armature

that's holding her out.

So, yeah, there's two balloons
inside her head,
two small ones in her neck,

and when I pop
all the balloons,

I've got a hollow
that I can get in
with the hot air g*n.

- Are you ready
to pop the balloon?
- I am.

Do you wanna pop?
I'm really curious about this.

- I think it'll just--
- Oh, my God.

I think it might just
deflate.

There you go.

Oh.

Dame Shirley's balloons
have been popped.

There's air
coming out of her ears.

So, yeah, the balloons
are now deflated.

- So she's hollow inside there?
- She is very hollow, yeah.

- Great. Yeah.
- Well done. Good luck.

- Thank you. Thank you.
- Looking good so far.

As Shirley's balloons deflate,

those with more solid formers

now have the task
of getting them out.

Gotta slice him
now.
Let's do it.

I'm a little bit worried
about this section.

But if I don't do it now,
it's never gonna be dry
enough.

Pulling the formers
out too quickly

runs the risk
of their busts collapsing.

Oh, gosh,
I don't know what to do.
- Oh, she looks great.

But I don't... She's solid.
- Right.

I'm leaving the head off mine
to let it dry properly.

I need to have a little think
before I do something rash.

One potter, though,
is facing an entirely
different challenge.

I'm gonna start digging out
all of the clay,

'cause at the minute,
he's solid,

and he needs to be hollow
to survive the kiln.

So I'm opening it,
literally scooping out
the entire inner cavity.

This is just so much easier
than trying to rip
great hunks of paper out.

She's just done it.

Yeah, it's happening.
So, all the rage,
everyone's doing it,

so I just,
you know, panicked.

I could feel that.

Oh, my God.

I'll hold her there.

Can you see if you can...

Is that coming out?
Do you wanna hold
her...

We're gonna need...

- A bigger... Ooh.
- Is that moving now?

Come on.

I'm sorry, Dolly.

Oh, should support the head.

Oh, right. Oh, sh...
So stressful.

I'll just...

Thank you.

Freaking stressful, man.
Oh, man.

It's Music Week...

and the potters
have been given
three hours to make

and three hours to refine
a bust of a musical legend.

Halfway through
the challenge...

Just a mess.

...those musical legends...

...are being
delicately separated
from their support acts.

Just got a bit of a wobble
going on.

How to get it off. Oh! Ah!

I don't like
big decisions like
this.

But once
reinforcements are removed,

the potters are presented
with another problem.

- Oh, stay.
- Gravity.

All the natural
support
that it had has all come out.

So now it's got nothing
supporting it.

So what I'm trying to do
is make it as light
as possible,

because otherwise
it could crack and fall apart.

Secret here is not to panic.

Losing weight isn't easy.

I want to do it in sections
'cause there's still
a lot of clay on here.

This is the important bit
to do right now.

Make the walls
of the bust too thin,
and it won't support itself.

You need the thickness
to support the weight.

But too thick,
the clay won't dry
and will explode in the kiln.

Oh, this feels weird.
Don't look at me when I...

Stop watch...

And for Shenyue,
it's a chance to see
what's inside Ed's head.

Ooh. Every single one
of his songs is in here.

This is "Galway Girl,"
this is "Lego House."

This one's "The A Team."
And this is "The Shape of Me."

I'm gonna slip and score
around here and here

and attach this back on.

But it's really thin,
so when I put this on,

if it starts to slump,
I'm in trouble.

While most
of the musical legends

require a quick nip and tuck
to reseal their heads,

one potter's hero
needs major surgery.

- What are you doing?
- I just scooped him out.

Yeah. He's looking
a bit shook, actually.

But that is
how he looks.

So what else
do you have left to do

apart from find
the rest of him?

Uh, hair and glasses.

I always know
how panicky you are

the quieter you get
and the more calm you
sound.

You must be screaming inside,
'cause you're really Zen
on the outside.

- Really, so Zen. So Zen.
- You're gonna collapse,
aren't you?

I'll just faint
in a minute. Boof!

While Henry attempts
to make Ozzy whole again...

Just do the thing,
put the thing on this thing.

Squash it.
Whoa, you are not
lined up properly.

...the rest
of the potters' attention
has turned to hair.

I'm just making
Dame Shirley Bassey's hair,

and I'm gonna
do it like that,
and I'm gonna build it up.

And this way, I can get
quite a lot of structure
without too much weight.

I don't know whether
I'm doing it right or
wrong.

As they won't be
decorating their busts,

it's crucial that every strand
helps bring their legends
to life.

He has very '80s,
sort of crazy-type hair,
which is nice.

Uh, just really hard to
sculpt.

Now, Alon,
he's really managed to
capture something there.

Yeah, he's got
all that lovely texture
that he's put on in the hair.

There's life in the eyes,
isn't there?

- And that's what
we want to see.
- Yeah, absolutely.

I've just made some coils,
and I'm just gonna pop 'em on

and see if I can get
a lifelike-enough shape.

It's Dolly's "just got up
in the morning" look.

This is not my best work.

That head is big.
- I just hope
he can get the hair on.

- He's gotta get the hair on.
- We don't want a bald Dolly.

No, we don't want
a bald Dolly, no.

But more clay
means more weight.

Her neck has just
smushed down,

so she looks like this.

Just noticed that the hair
that wasn't touching the board

is now touching the board.

That's 'cause he's sinking.

- Have you seen Tom live?
- Yeah, a couple of times.

- Have you?
- Yeah.

Did you throw
your knickers at him?

I'd have covered
him
with my knickers.

Parachute.

He'd have bloody
thrown them back,
wouldn't he?

I need to try
and get this hair finished,

and I've committed
to lots of strands.

I'm just gonna
have to go with it.

While Lee races
to finish Dolly's do...

Right. Got to start
fiddling with the hair
and do something else,

or I'm gonna run out of time.

...focus turns
to refining the features

that will bring
their legends to life.

What does the bottom
of a nose look like?

Oh. Like that, eh?

He's got
a really nice mouth,

and it's very interesting,
and it has to be realistic,

so trying to get
the right details in

without it looking
caricature-y
is quite tricky.

The nose is
a little bit too long.
Definitely.

I've gotta cut a piece
off of that,

'cause it looks a bit like
Shakespeare at the minute.

Yeah, so I've just gotta whip
a little bit off the nose.

Bit risky, but, you know,
we're running out of time
rapidly

and I'm sort of doing
major bloomin' surgery,
you know.

But if it's not right,
it's not right, is it?

Potters,
you have one hour left.

One hour left, Hannah.
Dolly, one hour left.

Even though
each crease in the clay

will help capture a likeness
of their legend,

the judges are also expecting
the potters to accessorise.

So now I'm gonna start
with my feather boa,

'cause that's
a really important bit.

This picture, you know,

that's pretty much
half the picture, isn't it?

So if I don't do that,
I think they're gonna notice.
So I'm doing it.

This is an extruder.

And we just sort of
separate them out a bit,
and you have feathers.

I can't think of another way
of doing it.

While Battle for Best Boa
is in full swing,

Scrap of the Sunglasses
is just getting started.

Ozzy Osbourne's glasses
are iconic.

I used to manage
a little boutique, um,
optician's in Brighton,

so should know my way
around a nice pair.

But these are about
the right size.

But they're just
really delicate,
and I'm really clumsy,

so I'm gonna try and make them
just rims rather than solid,

um, so that you can
see the eyes through
it.

But I don't know
if that's a good idea
or not.

In fact, I'm pretty
sure
it's a bad idea.

But we're doing it anyway.

- Potters...
- No.

- Yes.
- No.

- Yes.
- No.

- Yes!
- No!

You have half an hour left.

Thirty minutes, 30 minutes
to finish your music legends.

I'm kind of doing
very vague hair, to be honest.

In the final throes,
I've not got the hair done.
I'm really worried.

Oh, I'm losing things now.

You know,
when you get a bit stressed,

you're like,
"Where did I put that?

Where's that gone?
I had it like a second ago."

I think if I do any more,
it's just fiddling
for fiddling's sake,

and then I'll end up
screwing something up.

I'm really happy
that I've made a bit of chain.

Even if I don't get
the whole chain done,

I'll be able
to put something on him,

'cause I don't think
I'll get one that goes
all the way round.

Okay,
we have Shirley on the move.

Oh, my days,
that's so good.

We have Dame Shirley
in the drying room.

But I've been working
9:00 to 5:00.

That's ten minutes left.
Potters, ten minutes left.

What a pout. Oh, my God.

Just sort of
filling gaps now.

Can't get any worse.

Look at that. Oh, gosh.

Still not 100%, but it is
what it is, isn't it?

I refined his glasses.
Now I'm refining his nostrils.

Tom is on the move, guys.
Tom is on the move.

Come on, Tom. In we go.

Great stuff. Well done.

- Can we do down,
the lower one?
- Yeah.

Just want it
to dry slower.

- Five minutes remaining.
- Oh.

Five minutes remaining.

- Five minutes? No way.
- Go, Henry, go.

- Do you want a hand? Okay.
- I've got it. It's all right.

Back to your benches, please.

Quick smart.

Congratulations.

Well done.

Studio technician Rose
will watch over the legends

as they dry
for a further 48 hours

before they face
their one and only trip
to the kiln.

So with these busts,
there's a lot of different
thicknesses of clay.

So if there's
any moisture or air
still trapped in those walls,

we fire it in the kiln,
the whole thing could explode
and come apart.

I just wish it looked more like her. That's all.

Maybe when it's fired,
I'll have another look

and be like,
"Oh, I'm
surprised."

Maybe I'll be like, "Ooh."

As their busts
dry,
one challenge remains

and one last chance
to secure their place
in the pottery.

Hello, potters.

You must be wondering
what lies beneath
the hessian.

Well, wonder no more,

as this week's
second challenge
is a spot test.

And the judges
would like you to make

a small, but perfectly formed

20-centimetre version
of a musical instrument.

So, let's see
what we have.

First of all...

- A banjo.
- A banjo.

- Violin.
- Ooh.

A saxophone,
an acoustic guitar,

a lap harp,
an electric guitar...

...and a large horn.

And finally we have

a trumpet
and a drum and sticks.

So you have nine instruments,
and on my word,

you will come up,
take your instrument,
and go back to your bench.

On your marks, get set,

go!

I guess I'm doing this one.

I wasn't getting into
that melee.
I'm too old for that.

You have 90 minutes to make
your 20-centimetre version

of your instrument,
and your time starts now.

I've got a banjo,
which is very exciting.

I once listened to
way too much Mumford & Sons

and bought myself
a five-string banjo

and never learnt
how to play it.

So I went for a guitar.
The violin
was the first choice,

but I didn't realise
Hannah was so strong.

She went "bosh"!

What can I say?
I've got a flipping drum.

I'm just trying to figure out
the proportions
of the different bits.

Says 20 centimetres.

Tiny.
It's absolutely tiny.

I'm puzzled, 'cause
I'm not very good at maths.

And I'm just trying
to scale it down.

I don't know how to do it.

I have no clue
where to start,

so I'm doing
just rough general shapes,

and then I'll refine them
a bit later.

Something that resembles
a trumpet.

With each instrument having
its own distinctive shape,

the potters must work out
the best technique
for their build.

I think I'm gonna slab it,
cut it out,
and then join it afterwards.

Slab building
for the flat instruments...

Bish-bash-bosh.
Put it together and then
add details afterwards.

...and tubes
for the brass instruments.

All of these tubes
will be really tricky.

But I have fun doing it.
I think that's the--

That's the answer, isn't it?
Don't stress out too much.

There are nine potters,

and eight of them
didn't choose that.

So what would that suggest?

- Are you pleased with the drum?
- Uh--

- It was a bit of a scramble, wasn't it?
- It was.

Did you have
your eye on it?

Wanted the one Jodie got.
She beat me to it.

- Was it sharp elbows?
- Yeah.

She's very competitive,
that girl.

Now have you got
a mortal enemy in
Jodie?

Ah,
she's going down.

Have an errant leg
slip out somewhere
as she's running round.

Okay, we need security.

When we first came here,
we were like,

"Hmm, does the second
challenge count?
Not really sure."

But do you know what?
Looking at the people
who've gone home,

they have been at the bottom
of the second challenge.

Because I've not done
so well in the main challenge,

I need to make sure
I do well in this one.

Potters,
you are halfway through.

- Halfway through
your challenge.
- No.

- Yes.
- No, not good.

To have a chance
of coming top
in this challenge,

the potters must add
realistic detail

to their chosen instruments.

It's so difficult
to piece together

as many bits as you can
in such a short amount of time

to get a realistic instrument.

I'm just quite glad
that I don't have to
try and do strings,

'cause that's gonna be
impossible.

Peter, how are you
doing
your strings?

Nowhere near that yet.

I might carve out patterns
to look like strings,

'cause otherwise that string,
the real thickness would be
thinner than a hair.

I've just tried
to do strings.
Strings are not happening.

I'm gonna have
to do an indentation
instead of strings, I think.

I'm trying
to get this on
here,

but it's just hanging
in fresh air.

Think, think.

- Hi.
- Hello, lovely.
How are you?

I'm fine.
Look at you being all warm.

- But I know that
you have sharp elbows.
- Me?

Did you know that Lee wanted
the electric guitar?

No. The only thing
I heard was--

The crunch of his bones
under your foot.

Everybody's saying,
"Oh, I'm not competitive.
We'll all help each other."

You put some
musical instruments
in front of us,

- and our true colours
come out all of a sudden.
- Yeah, exactly.

How much time have we got?

Potters, you have
15 minutes left.

You are not a nice person.
I've changed my mind.

I don't like you
no more.
- Sal!

Fifteen minutes is not
long enough to do all of
the details that I need to do.

At this rate, I'm just gonna
have an actual cylinder

that looks nothing like a
drum,
so I'm panicking.

Back to my usual state.

Mine's, like, that big.
It's gonna be a big trumpet.

This is too far down.
I'm tempted to cut that off
and put a bit in.

It's not tall enough,
so I'm putting
a bit in quickly.

Or not.
I think I've just broken that.

I'm realising there's a heck of a lot of stuff I haven't

e.g., the bow.
Haven't done the bow.

- You can't hold nothing
up to nothing, can you?
- You can't what, darling?

If things are dangling
in the fresh air,

how are you supposed
to hold 'em together?

- I hate this.
- I hate this. I hate this.

It's not even funny.

Look at Adam.
He's probably finished by now.

He's ridiculous
with these kind of things.

'Cause this is
irregular in shape,

he'll probably notice
the slight imperfections
slightly less.

Maybe. Hopefully.

Oh. Okay. I give
up.
It won't stand up.

So I just give up.
Okay, I've had enough.

Potters, you have
five minutes left.

Try and get some strings
on it now.

Let's go.
I'm gonna get my lid on.

Oh, my gosh,
it's so stressful.

God, I can't believe it's
taken me an hour and a half
to make this.

Time to start putting
your little instruments
on the ware boards.

Ooh.

Thank you very much.

Bring it up
to the top of the room.

Ooh, high five, Henry. Boom!

The potters'
orchestra of clay instruments
are ready to be judged.

Who was doing the guitar?

Peter. It looks
like an acoustic guitar.
- Absolutely.

The proportions feel right.
- It's lovely to see
the detail in the fretboard,

- and it's a really
nice shape, isn't it?
- Missing a few strings.

I don't know
how well it would play.
But everything's there.

And it's a good size.
It's bang on 20 centimetres.
Really, really nice.

- Thank you.
- Who did the saxophone?

That's me.
- The level
of detail is exquisite.

You've got all of the keys.
The proportions feel right.

And the sizing's not bad.
It's just slightly over,
21 centimetres.

- And look at the bell.
Great bell on the end.
- Yeah.

Yeah, uh, and--

Moving on.
Who did the harp?

Shenyue.
- That's bang on
20 centimetres.

Just under, slightly.
The construction's really
nice.

You've managed
to create that shape.

You haven't gone for
each individual string.

You tried to emulate that.

We were probably looking
for a bit more
authenticity.

So who had the banjo?
All right, Henry.

Slightly under.
But only slightly.

I'm liking
the proportion of neck
to the body of the banjo.

That's very good.
I'm liking the scratchplate.

That's a really nice shape
and really well observed.

- Would've been nice to see
some strings, wouldn't it?
- Yeah.

But I've got to say the quality of the construction is bang on.

This line along here
is just so pristine.

Yeah. Yeah, no, really,
really good. Excellent.
- It's beautiful.

Who was
the violin? Lovely.
- Hannah.

It's lovely that
you've incised and pierced
right the way through

because you get a sense
of that kind of emptiness
and that cavity inside.

Let's just measure
that violin.
We're almost spot on.

Slightly under. Pretty good.

The bow as well.
Really nice detail
in there. Yeah.

And it still feels in proportion with the main body of the violin.

Yeah, well done.
Brilliant.
- Thank you.

So who did the drum?
It's slightly over.

It's about 23, 23 and a half.
It's quite simple.
- Yeah.

A drum presents
its own challenges
because of its sheer volume.

Looks like you've spent
a lot of time
constructing this big piece,

which you've done very well,
but it's missing some of the finer detail.

So who had
the trumpet?
- Me.

Great.
Brilliant, Alon.

The first thing you look at
is the attention to detail.

All that tubing,
it's an incredible effort,
isn't it?

Yeah. I mean,
a fantastic construction.

You've even got the valve caps,

you've got the screws,
you've got everything.

And the mouthpiece--
got a very specific shape,

the way it curves back in,
and you've captured that
perfectly on there.

And how big is it, Keith?
- Yeah,
it's 27 centimetres,

so it's a bit
on the large side.

Moving on.
Who got the electric
guitar?

Jodie.
- The proportions
are all really nice.

Got the accent
on the machine heads,

got the fretboard,
and I'm loving the detail
on the pickups.

And the scratchplate
looks really nice.

And all of these
knobs and dials--

Overall, there's
a really lovely quality
to the finish.

It's 20 centimetres
bang on. So that's perfect.

- Really, really nice.
- Thank you.

Last, but not least:
the large horn.

Yeah, I know. I saw
you struggling.

'Cause I feel for you,
I... you know.

Probably one of
the hardest to do

because the horn
was standing up in there.

- There was nothing
to hold it to.
- Okay.

It is a pity that it's come to pieces because actually,

there are some
lovely elements
in here, Sal.

Yeah, it is a bit
tall.
It's 22 and a half, 23.

And adding the two
is what made it fall apart.

We'll put it back
together later.

- All right. Okay.
- Yeah.

The judges will now rank

the potters' instruments
from worst to first.

In ninth place goes to Sal.

Yeah.
- Yeah.
Basically, you know,

- we can only judge
on what we see.
- Absolutely.

In eighth place
is the drum. Lee.

- Yeah.
- Yeah. A bit
on the large side,

and we would've liked
a bit more attention
to detail.

Shenyue and her harp
are seventh,

Henry's banjo is sixth,
Peter's guitar fifth,

Alon's trumpet fourth,

and Jodie's electric guitar
wins her third,

leaving top spot
between Adam and Hannah.

In second place...

is the violin.

Really nice, Hannah.
We love the fact

that you constructed
that box, and it was hollow.

Nice detail
on the head of the violin.
Absolutely amazing.

So last but not least,
- Adam.

You've shown us that level
of detail before.

You didn't disappoint.
It's brilliant.
Absolutely amazing.

- Thank you.
- Well done.

Yay! I won something.
Very, very happy.

To win that challenge
is a really nice validation

that I am actually here
for a reason.

I might actually
be able to do this.

So I came eighth
in this challenge,

so it's all down to, like,
doing well with Dolly,

which is gonna be
quite difficult,

seeing as, you know,
one of her eyes
is working 9:00 to 5:00

and the other one's working
10:00 till 6:00.

I'd hate for
a rookie stupid mistake
to send me home.

Yeah. Can we stop?

It's judgment day
and time to find out

if the potters' busts
of music legends
have survived the kiln.

I'm terrified
of seeing Ozzy's face.

I'm feeling quite
anxious about Dame Shirley.

Her feather boa
might look like, uh,
somebody's mowed the grass.

I just hope
she's in one piece.

I threw the hair on
really quickly.

So that might all fall to bits.

But I did make
a very secure structure.

That's mine? Wow.

I think this is your ear.

Okay. Well...

I've never seen
something
explode like that.

Oh, that's-- that's...
Her head's intact.

But her shoulders
have blown off.

Now Henry's.

Oh, God!

Oh, it doesn't look good,
does it?

I think
this is his chin.
- Oh!

Oh, man alive.

Uh-oh.

So many bits,
I don't know where they go.

That's a side
attachment
somewhere, isn't it?

The potters
have time to fix, if they can,
any broken legends.

I think
that's her cheek.

You found
her cheek. Oh, my gosh,
thank you, guys.

Nine hand-sculpted
clay musical legends

now face the judgment
of Keith and Richard.

- Judges,
you ready to judge?
- Yeah.

It's a fantastic construction.

You've got a beautiful finish
to the surface.

All of these kind of indents that you've put through here

The only thing
that lets it down slightly
is just the eyes.

- Because she's got
such bright eyes.
- Right.

The thing about you, Jodie,
is that you always
give us your best.

And we can see that
in your makes,

and, you know,
you've never done
anything like this before,

and she's upright,
and it's fantastic.

I don't know why
I'm crying so much,
but anyway.

It's not absolutely
exactly representative
of the photo.

But it's fantastic.
Really, really, it's great.

Aw, thanks, guys.

I'm just sad I didn't do her justice. I mean...

I wouldn't be
so down on yourself.

I mean, this feather boa--
Okay, it's now
several feather boas...

...but actually the texture
on the surface is beautiful.

The hair is
fantastically well
constructed.

We've seen you really capture
the right technique

for the specific look
that you're going for.

- I think it's really
nicely observed.
- Thank you.

How are you feeling
about it?

I've had the week from hell,
let's face it.

Right. Yeah.

The issues you've had
with the blowing out
from the cheeks and ears

makes it quite difficult
to sort of see the face.

Because it makes the whole
sort of central bit--
- They're here.

- Oh, right.
- Oh, that's nice.

- Oh, now we-- Yeah.
- Jolly good. Yeah.

That makes more sense.

It's a big construction,

and it's a really difficult
thing to get right.

The shoulders look fairly good.

The neck up
is a bit of an issue.

The eyes are very
sort of two-dimensional.

You haven't really given us
too much detail.

She looks a bit more like
a department store mannequin...

- Yeah.
- ...than Dolly Parton,
unfortunately.

I think you've really,
really captured him.

And I just like the texture
that you've managed to get
with his skin.

Okay, there's obvious
structural problems here,

and there's things where
the glasses haven't quite--

That was quite brave to try
and do these glasses so thin.

The proportions are
really, really wonderful.

You know, the distance
you observe here
compared to the photograph

and the way the hair falls
around the face.

And this chain-- I mean,
that is just unbelievable.
- Brilliant.

He looks a little bit more
like Darth Vader
than Ozzy Osbourne.

He does, doesn't he?
It's very, very hard to tell,

'cause it's obviously
in pieces.

You can see
that it's definitely

- a sticking-on issue.
- It is. Yeah.

It's about having
a well-thought-out plan

as to how
that construction's
gonna happen

in order to allow it
to survive being fired

2,000 degrees
in a gas kiln.

The glasses
are really nicely made.
The hair really nicely done.

Obviously he's got a bit
of a scar down his face here.
- Yeah.

That's a structural issue.
It's not a bad look.

Yeah, he's very recognisable.
It forces you to really
closely observe Ed,

and I think you've got
a lot of the likeness.

Well done, Shenyue.

You can't fault
the construction,

and I really like the way

you've attempted
these facial features:

this little kind of cheeky
Sir Tom smile.

- The life that's been lived
gives him character.
- Mm.

Yeah, the only issue
I would have
is his ears are a bit odd.

Maybe Tom's played
a bit too much rugby there.

- It really looks like Dolly,
doesn't it?
- It does.

It's just a shame
that the build itself

wasn't really quite up to par.

I really didn't think
it was gonna go this badly.

The head
completely popped off.

And no one wants
Dolly's head to fall off.

Yeah.

I'm really glad
that the face didn't blow off,

because actually,
somehow you've brought out

all of these
incredible features,

and the sculpting
is completely on point.

You're all the way there.
It's just the fundamentals
of the construction.

- Well done, Hannah.
- Thanks.

There's so many things
that are endearing

about your version
of Bruce Springsteen.

The hair, for one,
is just incredible.

There's even an elegance
and an energy to the shirt
that he's wearing.

It's really sublime.
You've even managed
to create the teeth.

It's that attention to detail
that's so wonderful
about this piece.

- It's fantastic.
Really well done, Alon.
- Thanks.

Pretty happy
with the judges' comments.

They saw the amount of detail
I tried to put in here.

Bloody hell. I've never
seen aught like it,
have you?

It went as badly
as it could possibly
go.

The front fell off the bust,
so really risky spot,

and it might be my time
to say goodbye
to everyone tonight.

Well, we have had quite a lot
of musical drama this week.

Now, the judges
have made their decisions,

so the Potter of the Week
this week is...

Alon.

Congratulations.

Now it's the really
horrible bit.

I really hope you believe me when I say
that this gets harder and harder to do.

And I'm sorry to say

that the person
who is leaving this week is...

Lee.

- That's okay.
- I'm so sorry, love.

It is, it's fine,
it's fine, it's fine.

It's, uh... Sorry.

We've got so close
as a group of friends,

so that's the thing
I'm gonna miss the most.

I'm all right. Don't worry.

But I just feel like
moving on from here,

I'm just gonna go
from strength to strength
'cause I've learnt so much,

and I've got people
that I can talk to now
that are also potters,

'cause I didn't have
many potters as friends
before.

As Lee says goodbye
to the pottery,

Alon's Bruce Springsteen bust
is his first

to take pride of place
in the Throw Down gallery.

So who knew
Alon could stick to a brief?

Not push the envelope
too much?

And lo and behold,
Potter of the Week.

Happy I won
Potter of the Week.
Feels good to do well.

But back to normal next week,

pushing boundaries
and stuff. Yeah.

- Next time...
- Oh, that's big.

- ...it's terracotta
week.
- Ah.

This is definitely
the biggest thing
I've ever thrown.

- A trio
of family-sized pots...
- Handles, handles, handles.

...make life difficult
at the wheel.

Ah, ah, ah, ah.
Don't you love terracotta?

And even more drama...

Oh, no.

...in the kiln.

- Well, that is a crack.
- Wow.

Yeah,
that's fairly conclusive.