Prosthetic dentures and veneers are often associated simply with vampires and cheap gags.
In fact they have a wide range of uses in the movies including: assisting old-age makeup to give an aged look; altering the shape of the face or mouth; creating a look-alike makeup (imagine a portrayal of Eleanor Rooseevelt without those teeth); giving the appearance that a character has damaged, uneven or missing teeth; simulating injury; giving the appearance that the character has gold teeth or wears dentures.
Au bistro du coin (2011): The inhabitants of a Parisian district, including Fanny (Frédérique Bel – a former model best known for playing a succession of beautiful blondes) come together to put on a charity show for the homeless. Pierre Olivier Persin (popsfx) supplied the prosthetic teeth.
The Fighter (2010): Coming soon …
Repo Chick (2009): Hilton-esque heiress Pixxi is disinherited by her snotty family after too many unfortunate incidents. Forced to get a real job she discovers a knack for repossession and sets off after the ultimate repo – a mysterious train that almost nobody can see – and collect a million dollar reward.Along the way she encounters, amongst others, Sister Duncan (Chloe Webb). Tricia Sawyer was the makeup department head & Barney Burman was the makeup designer. Barney told me: ‘Chloe wanted a pair of false teeth to accent her character's superficiality. And staying true to the nature of the film we decided they should have something of an artificial look to them.’
Non ti muovere (2004): While waiting for outcome of brain surgery on his daughter Angela, Timoteo, recalls his torrid and violent lust for, and ultimately passionate affair with, the deceased Italia (Penélope Cruz), an almost destitute, poorly-educated peasant woman from the slums. Maurizio Silvi and Whitney James were the makeup artists; Mauro Tamagnini was the hairstylist.
Love is the Devil (1998): Muriel Belcher (Tilda Swinton) was the founder and proprietress of a private drinking club known as the Colony Room in Soho; the ‘Room’ achieved a certain notoriety both for its clientele, which included Francis Bacon and other artists, and for its bilious decor. I’m not quite sure why Tilda adopted such an unedifying look to play Muriel: the only description I have refers to her as a foul-mouthed but ‘handsome, Jewish dyke’ –perhaps they took the ‘foul-mouthed’ reference a bit literally. Jacquetta Levon was the makeup designer.