Zitat des Tages über Dracula:
For me, Dracula has always been associated with travel and beautiful historical places.
Each of us needs something - food, liquor, pot, whatever - to help us survive. Dracula needs blood.
I certainly didn't want to make another movie that's 'just another Dracula film.'
Count Dracula had directed me to go to the Golden Krone Hotel, which I found, to my great delight, to be thoroughly old-fashioned, for of course I wanted to see all I could of the ways of the country.
I wanted to play Dracula because I wanted to say: 'I've crossed oceans of time to find you.' It was worth playing the role just to say that line.
The role seemed to demand that I keep myself worked up to fever pitch, so I took on the actual attributes of the horrible vampire, Dracula.
I'd seen 'Interview with A Vampire' and saw Dracula movies growing up, but I never thought, 'I love vampires; I have to do a show about vampires.'
So many people of my generation all grew up with that shock theater package on television of 'Frankenstein,' 'Wolfman,' 'Dracula,' 'Mummy,' all the Universal stuff.
I've often described my book 'Anno Dracula' as 'literally, a vampire novel' - in that it battens on to other novels and sucks their lifeblood, transforming as well as feeding off them.
I'd been a Bond girl and in Dracula films and 'Coronation Street,' but I was always hunting for work. After 'The New Avengers,' I never had to wait for work again.
I'm getting a lot of stick because my character in 'Young Dracula' wanted to be vampire, so now that I am a vampire, everyone's like, 'You finally did it!' But it's cool and I loved doing 'Young Dracula.' That show's finished and I don't know why it ended, so it was brilliant to go into 'Being Human,' which is like the adult version of it.
You know honestly I think there's a Dracula, a Wolf Man, and a Frankenstein's Monster in all of us. They are sides of our own character so that's why I think we can relate to them in terms of a 'I know how that feels' kind of thing.
Certainly Dracula did bring a hell of a lot of joy to a hell of a lot of women. And if this erotic quality hadn't come out we'd have been very disappointed.
'Baltimore' the series is inspired by all kinds of things, from 'Moby Dick' to 'Dracula.'
Dracula, if he could see modern corporations, wouldn't like them much. He took care of his people, at least as he saw it. They had very little freedom, but they had a protector.
I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.
It took me years to live down Dracula and convince the film producers that I would play almost any other type of role.
Most vampires I have discovered are men for some reason. I guess it's because of Dracula; people are kind of feeding off that.
After college, I went on a real big classics kick. Read everything by Faulkner, Hemingway, Woolf, Proust, Dostoevsky. And that classics train dropped me off at 'Dracula.' Halfway through it, I understood I'd never be going back, never 'leaving' the genre again. Since then, I've been on a fairly strict horror diet.
There was a gap of seven years between the first and second Dracula movies. In the second one as everybody knows, I didn't speak, because I said I couldn't say the lines.
Vampires used to be like Dracula, and now they're young teenage kids, so yeah, I like that.
When I heard that 'Dracula' was being made into a series by NBC and Carnival, I couldn't resist. I knew they would do something interesting with it. A period drama with a supernatural twist seemed like a whole lot of fun.
I read 'Dracula' in high school. I've been around vampires forever.
To win a woman, take her with you to see Dracula.
This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.
I have played Dracula a thousand times on stage and I find I have become thoroughly settled in the technique of the stage and not of the screen.
When people ask me if Dean Martin drank, let me put it this way. If Dracula bit Dean in the neck, he'd get a Bloody Mary.
More immediately, I'm currently working on another Dracula in which there will be connections with ancient Egypt. That's about as far as I want to go in commenting on current work.
As a kid, I had a Beatles poster and a Bela Lugosi as Dracula poster, so both worlds always appealed to me. Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts.
Bram Stoker's 'Dracula' was a story about the fear of immigration; the bad old bloodsucker swooping in from Eastern Europe and also preying upon 'our' vulnerable women.
For my part, if the audience wanted to see Dracula again, I would be happy to reprise the role. It is an immortal character that can appear anywhere because it lies beyond time. Possibilities are endless.
I'd rather be with Dracula than the Wolfman.
When I was a kid, going to Universal Studios, which was all I wanted to do, all the time, there was a show that was all the monsters, and I loved that show. I was obsessed with Dracula. I was obsessed with Frankenstein. I was obsessed with the Wolfman.
Dracula can sustain many interpretations and exists in many phantasmal forms... and Johnny Alucard is my attempt to explore the multiplicity of Draculas unloosed on the world in the long wake of Stoker's novel.
Theater was definitely part of my roots. My father would take me to plays, and then my mother was always on the lookout for other talent and taking me to see plays. I saw Frank Langella in 'Dracula'... Great, great performances. I was a theater rat, hanging out backstage.
When I started writing about vampires, I swore that I wouldn't touch the 'Dracula' legend because it's been done too many times.
