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Dracula (1992)
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Overview
User Rating:
Your Rating:
Director:
Writers (WGA):
Release Date:
13 November 1992 (USA)
See more »
Tagline:
Beware See more »
Plot:
The vampire comes to England to seduce a visitor's fiancée and inflict havoc in the foreign land. Full summary » | Full synopsis »
Awards:
Won 3 Oscars.
Another 9 wins
&
12 nominations
See more »
NewsDesk:
(1116 articles)
Supporting Actors: The Overlooked and Underrated (part 5 of 5)
(From SoundOnSight. 30 May 2012, 10:08 PM, PDT)
New Trailer for The Incredible Adventures of Van Helsing
(From Dread Central. 30 May 2012, 1:25 PM, PDT)
Christopher Lee 90th Birthday: 90 Reasons The Horror Icon is Awesome
(From Moviefone. 24 May 2012, 1:58 PM, PDT)
(From SoundOnSight. 30 May 2012, 10:08 PM, PDT)
New Trailer for The Incredible Adventures of Van Helsing
(From Dread Central. 30 May 2012, 1:25 PM, PDT)
Christopher Lee 90th Birthday: 90 Reasons The Horror Icon is Awesome
(From Moviefone. 24 May 2012, 1:58 PM, PDT)
User Reviews:
Oldman is the Best Dracula Ever!
See more (581 total) »
Cast
(in credits order) (verified as complete)
Directed by | |||
| Francis Ford Coppola | |||
Writing credits(WGA) | ||
| Bram Stoker | (novel "Dracula") | |
| James V. Hart | (screenplay) | |
Produced by | |||
| Michael Apted | .... | executive producer | |
| Francis Ford Coppola | .... | producer | |
| Susan Landau Finch | .... | associate producer (as Susie Landau) | |
| Fred Fuchs | .... | producer | |
| James V. Hart | .... | co-producer | |
| Charles Mulvehill | .... | producer | |
| Robert O'Connor | .... | executive producer | |
| John Veitch | .... | co-producer | |
Original Music by | |||
| Wojciech Kilar | |||
Cinematography by | |||
| Michael Ballhaus | (director of photography) | ||
Film Editing by | |||
| Anne Goursaud | |||
| Glen Scantlebury | |||
| Nicholas C. Smith | |||
Casting by | |||
| Victoria Thomas | |||
Production Design by | |||
| Thomas E. Sanders | (as Thomas Sanders) | ||
Art Direction by | |||
| Andrew Precht | |||
Set Decoration by | |||
| Garrett Lewis | |||
Costume Design by | |||
| Eiko Ishioka | |||
Makeup Department | |||
| Stuart Artingstall | .... | hair stylist: Mr. Oldman | |
| Stuart Artingstall | .... | wig maker: Mr. Oldman | |
| David P. Barton | .... | posthetic eye creator | |
| Linda Benavente-Notaro | .... | special makeup effects assistant (as Linda Notaro) | |
| John Blake | .... | makeup artist | |
| Roland Blancaflor | .... | special makeup effects assistant | |
| Mari Bloom | .... | head hair stylist | |
| Michèle Burke | .... | hair designer (as Michele Burke) | |
| Michèle Burke | .... | head makeup artist (as Michele Burke) | |
| Michèle Burke | .... | makeup designer (as Michele Burke) | |
| Greg Cannom | .... | special makeup effects | |
| Mitch Devane | .... | special makeup effects assistant (as Mitch DeVane) | |
| Matt Falls | .... | special makeup effects assistant (as Mat Falls) | |
| Glen Hanz | .... | special makeup effects assistant | |
| J.C. Logan | .... | special makeup effects assistant | |
| Lola 'Skip' McNalley | .... | hair stylist: second unit (as Lola 'Skip' McNally) | |
| Mike Measimer | .... | special makeup effects assistant | |
| Gilbert A. Mosko | .... | makeup artist | |
| Gilbert A. Mosko | .... | makeup department head: second unit | |
| Matthew W. Mungle | .... | special makeup application | |
| Josée Normand | .... | hair stylist (as Josee Normand) | |
| Larry Odien | .... | special makeup effects assistant | |
| Steve Prouty | .... | special makeup effects assistant | |
| Carol Schwartz | .... | makeup artist | |
| Rick Stratton | .... | makeup artist: second unit | |
| Todd Tucker | .... | special makeup effects assistant | |
| Robert E. Watson | .... | special makeup effects assistant (as Rob Watson) | |
| Joel Harlow | .... | armor sculptor (uncredited) | |
| Ursula Hawks | .... | wig maker (uncredited) | |
| Keith VanderLaan | .... | makeup effects artist: Cannom Creations (uncredited) | |
Production Management | |||
| Patricia Churchill | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Shery Blanc | .... | dga trainee (as Sheryl Blanc) | |
| Dan Coffie | .... | second assistant director: miniature unit | |
| Roman Coppola | .... | second unit director | |
| Kate Davey | .... | second assistant director | |
| Peter Giuliano | .... | first assistant director | |
| Martin Jedlicka | .... | second second assistant director | |
| Charles Myers | .... | first assistant director: second unit (as Myers) | |
| W. Thomas Snyder | .... | second assistant director: second unit | |
| Frank Capra III | .... | assistant director (uncredited) | |
| Mark Yellen | .... | first assistant director: screen tests/auditions (uncredited) | |
Art Department | |||
| Russell Bobbitt | .... | property master: second unit | |
| Trish Gallaher Glenn | .... | property master (as Trisha B. Gallaher) | |
| Kirk D. Hansen | .... | head painter (as Kirk Hansen) | |
| Joseph A. Hodges | .... | senior set designer (as Joseph Hodges) | |
| John Hoskins | .... | general foreman (as John W. Hoskins) | |
| Mentor Huebner | .... | illustrator | |
| Kathleen Hughes | .... | assistant property master (as Kathleen Devlin Hughes) | |
| Phillis Lehmer | .... | art department coordinator | |
| Tony Leonardi | .... | stand-by painter (as Anthony Leonardi) | |
| Ray Mercer Jr. | .... | property master (as Ray Mercer) | |
| Mike Mignola | .... | illustrator | |
| Dan Ondrejko | .... | greensman (as Daniel Ondrejko) | |
| Peter A. Ramsey | .... | illustrator | |
| Marvin Salsberg | .... | construction coordinator | |
| Alex Scutti Jr. | .... | staff shop supervisor (as Alexander Scutti III) | |
| Mark Woods | .... | leadman | |
| Fred Apolito | .... | propmaker (uncredited) | |
| Julie Brooke Beattie | .... | assistant property master: second unit (uncredited) | |
| Mauro Borrelli | .... | illustrator (uncredited) | |
| Elizabeth M. Burhop | .... | art department research (uncredited) | |
| Richard Crain | .... | gangboss (uncredited) | |
| Jon Danniells | .... | set dresser (uncredited) | |
| Cosmas A. Demetriou | .... | set designer (uncredited) | |
| Michael Denering | .... | scenic artist (uncredited) | |
| Daniel T. Dorrance | .... | assistant art director (uncredited) | |
| Jay Fisher | .... | Dracula portrait (uncredited) | |
| Scott C. Garrett | .... | draper (uncredited) | |
| Sean Haworth | .... | set designer (uncredited) | |
| Travis Huffman | .... | propmaker (uncredited) | |
| Gary Isbell | .... | set dresser (uncredited) | |
| Lynn A. Johanson | .... | scenic artist (uncredited) | |
| Kent Jones | .... | painter (uncredited) | |
| Jane Kilkenny | .... | model builder (uncredited) | |
| Sherman Labby | .... | production illustrator (uncredited) | |
| David Lowery | .... | storyboard artist (uncredited) | |
| Iain McCaig | .... | storyboard artist (uncredited) | |
| Robert Misetich | .... | paint foreman (uncredited) | |
| Steven Schwartz | .... | set designer (uncredited) | |
| Victor M. Shannon | .... | plasterer (uncredited) | |
| Bruce G. Smith | .... | paint foreman (uncredited) | |
| Randy Syracuse | .... | construction foreman (uncredited) | |
Sound Department | |||
| John H. Arrufat | .... | dialogue editor (as J.H. Arrufat) | |
| Christopher S. Aud | .... | sound effects editor | |
| Steve Borne | .... | assistant sound editor (as Steve Born) | |
| Zane D. Bruce | .... | foley walker | |
| Harry Cheney | .... | dialogue editor (as Harry M. Cheney) | |
| Kim B. Christensen | .... | assistant sound designer: American Zoetrope | |
| David B. Cohn | .... | supervising adr editor | |
| Roy Finch | .... | temp sound mix editor: American Zoetrope | |
| Linda Folk | .... | adr editor | |
| Jeff Gomillion | .... | adr mixer | |
| Mark Gordon | .... | supervising foley editor | |
| Alan Howarth | .... | additional sound effects | |
| Robert Janiger | .... | production sound mixer | |
| Devin Joseph | .... | assistant sound editor | |
| Mark R. La Pointe | .... | dialogue editor (as Mark LaPointe) | |
| Catt LeBaigue | .... | foley editor (as Catherine H. LeBaigue) | |
| Mark L. Mangino | .... | sound effects editor | |
| Cindy Marty | .... | foley editor | |
| Tom C. McCarthy | .... | supervising sound editor | |
| Jim McKee | .... | special sound effects editor: American Zoetrope | |
| Frances K. Petrovic | .... | assistant sound editor | |
| Sanford Ponder | .... | sound effects editor | |
| John F. Reynolds | .... | foley editor (as John Reynolds) | |
| Aaron Rochin | .... | sound re-recording mixer | |
| Diana J. Rogers | .... | apprentice sound editor | |
| Joseph T. Sabella | .... | foley walker (as Joe Sabella) | |
| Dennis S. Sands | .... | sound re-recording mixer (as Dennis Sands) | |
| Jackson Schwartz | .... | foley mixer | |
| George W. Scott | .... | boom operator | |
| Leslie Shatz | .... | sound designer | |
| Leslie Shatz | .... | sound re-recording mixer | |
| John Sisti | .... | adr editor (as John L. Sisti) | |
| Greg Stewart | .... | sound effects editor (as Gregory C. Stewart) | |
| David E. Stone | .... | supervising sound editor | |
| David F. Van Slyke | .... | sound effects editor (as David Van Slyke) | |
| Marian Wallace | .... | sound re-recording mixer | |
| David Williams | .... | sound effects editor | |
| David W. Alstadter | .... | adr mixer (uncredited) | |
| Kim Aubry | .... | adr mixer (uncredited) | |
| Gary Boggess | .... | assistant sound effects editor (uncredited) | |
| Ed Callahan | .... | sound editor (uncredited) | |
| Tina Canny | .... | machine room operator (uncredited) | |
| Derek Casari | .... | dubbing engineer (uncredited) | |
| Jeremy J. Gordon | .... | sound editor (uncredited) | |
| Andy Murdock | .... | sound recordist (uncredited) | |
| Andy Newell | .... | sound effects editor (uncredited) | |
| Timothy Pearson | .... | foley artist (uncredited) | |
| Philip Rogers | .... | sound recordist: final mix fixes (uncredited) | |
| B. Tennyson Sebastian III | .... | sound re-recording mixer (uncredited) | |
Special Effects by | |||
| Yarek Alfer | .... | chief sculptor (as Jaroslan G. Alfer) | |
| David Blitstein | .... | special mechanical effects foreman | |
| Michael Lantieri | .... | special mechanical effects supervisor | |
| Darrell Pritchett | .... | special effects foreman: second unit (as Darrell D. Pritchett) | |
| Paul Barnes | .... | special effects technician (uncredited) | |
| Randy Cabral | .... | special effects (uncredited) | |
| Jeanna Crawford | .... | special effects assistant (uncredited) | |
| Kim Derry | .... | special effects technician (uncredited) | |
| Thomas R. Homsher | .... | special effects technician (uncredited) | |
| Michael Hubert | .... | special effects assistant coordinator (uncredited) | |
| Matt McDonnell | .... | special effects technician (uncredited) | |
| Tom Pahk | .... | special effects foreman (uncredited) | |
| Brian Tipton | .... | special effects: first unit (uncredited) | |
| Harold Weed | .... | key model maker (uncredited) | |
Visual Effects by | |||
| Craig Barron | .... | director of matte photography: Matte World | |
| Betzy Bromberg | .... | optical supervisor | |
| Wade Childress | .... | matte camera operator: Matte World | |
| Roman Coppola | .... | visual effects director | |
| Stuart Cudlitz | .... | optical supervisor: Colossal Pictures | |
| Krystyna Demkowicz | .... | executive in charge of production: Matte World | |
| Leslie Ekker | .... | chief modelmaker: miniature unit (as Leslie G. Ekker) | |
| Ellen Erwitt | .... | visual effects producer: Colossal Pictures | |
| Gary Gutierrez | .... | visual effects supervisor: Colossal Pictures | |
| Mara Hamilton | .... | visual effects assistant | |
| Paul Hettler | .... | visual effects producer: Colossal Pictures | |
| Leslie Huntley | .... | visual effects supervisor | |
| Peter Kuran | .... | additional visual effects | |
| Bill Neil | .... | director of photography: miniature unit | |
| Kevin O'Neill | .... | additional visual effects | |
| Michael Pangrazio | .... | matte artist supervisor: Matte World | |
| Alison Savitch | .... | visual efffects supervisor | |
| Don Matthew Smith | .... | visual effects photographer: Colossal Pictures (as Don Smith) | |
| Gene Warren Jr. | .... | visual effects supervisor | |
| Christopher Warren | .... | visual effects camera operator | |
| Larry Arpin | .... | additional visual effects (uncredited) | |
| Scott Beverly | .... | mechanical effects technician (uncredited) | |
| Patrick Denver | .... | miniature set fabricator and operator (uncredited) | |
| David Emerson | .... | optical lineup (uncredited) | |
| Jenny Fulle | .... | visual effects producer (uncredited) | |
| John Goodson | .... | model maker (uncredited) | |
| Dion Hatch | .... | optical supervisor: CRC (uncredited) | |
| Adam Howard | .... | visual effects animator (uncredited) | |
| Randy Jonsson | .... | matte photographer (uncredited) | |
| Jo Martin | .... | effects editor: VCE (uncredited) | |
| Rich McKay | .... | camera assistant (uncredited) | |
| Rich McKay | .... | matte camera operator (uncredited) | |
| Bret Mixon | .... | roto supervisor (uncredited) | |
| Amy Pawlowski | .... | visual effects editor (uncredited) | |
| Rick Rische | .... | matte artist: 4-Ward (uncredited) | |
| Tim Scannell | .... | rotoscope artist / camera operator (uncredited) | |
| Jimi Simmons | .... | digital effects artist (uncredited) | |
| Jim Towler | .... | model/set supervisor (uncredited) | |
| Pam Vick | .... | rotoscope artist (uncredited) | |
| Joe White | .... | rotoscope artist (uncredited) | |
Stunts | |||
| Bobby Bass | .... | stunts | |
| Ray Bickel | .... | stunts | |
| Bobby Burns | .... | stunts | |
| William H. Burton Jr. | .... | stunts | |
| Hal Burton | .... | stunts | |
| William H. Burton | .... | stunt coordinator (as Billy Burton) | |
| R.J. Chambers | .... | stunts | |
| Steven Chambers | .... | stunts (as Steve Chambers) | |
| Tony Epper | .... | stunts | |
| Tommy J. Huff | .... | stunts (as Tommy Huff) | |
| Clay M. Lilley | .... | stunts (as Clay Lilley) | |
| Clint Lilley | .... | stunts | |
| Jimmy Ortega | .... | stunts | |
| Thomas Rosales Jr. | .... | stunts (as Tommy Rosales) | |
| Sven-Ole Thorsen | .... | stunts (as Sven Thorsen) | |
| Elliott S. Valderrama | .... | stunts (as Elliott Valderrama) | |
| Mike Watson | .... | stunts | |
| Joey Box | .... | stunts (uncredited) | |
| Dane Farwell | .... | stunts (uncredited) | |
Casting Department | |||
| Rick Montgomery | .... | additional casting | |
| Dan Parada | .... | additional casting | |
| Dixie Webster | .... | additional casting | |
| Abi Cohen | .... | casting assistant (uncredited) | |
| Jory Weitz | .... | casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Amy Andrews | .... | set costumer: women | |
| Jesse Fields | .... | costumer: men, second unit (as Jesse J. Fields) | |
| Marci R. Johnson | .... | costumer: women, second unit | |
| Mitchell Ray Kenney | .... | set costumer: men | |
| Sue Moore | .... | wardrobe: women | |
| Akiko Sakagame | .... | assistant to costume designer | |
| Eric H. Sandberg | .... | wardrobe: men | |
| Richard Shissler | .... | associate costume designer | |
| Andrea Wallace | .... | assistant costume designer | |
| Randy Gardell | .... | specialty costume keyperson (uncredited) | |
Editorial Department | |||
| Gus Carpenter | .... | associate editor montage: American Zoetrope unit | |
| Tina Fallani | .... | assistant film editor | |
| Mildred Iatrou | .... | assistant film editor | |
| Greg Pestoni | .... | assistant montage editor: American Zoetrope unit | |
| Martha Pike | .... | apprentice editor | |
| John Spence | .... | first assistant film editor | |
| Pam Uzzell | .... | apprentice editor | |
| Scot Deer | .... | telecine colorist (uncredited) | |
| Dale E. Grahn | .... | color timer (uncredited) | |
| Samuel H. Hinckley | .... | assistant editor (uncredited) | |
| Nickolas Perry | .... | post-production assistant (uncredited) | |
Music Department | |||
| Bob Bornstein | .... | music copyist | |
| Anton Coppola | .... | conductor | |
| Sandy DeCrescent | .... | music contractor (as Sandy De Crescent) | |
| Diamanda Galas | .... | special vocal performances (as Diamanda Galàs) | |
| Rolf Johnson | .... | assistant music editor | |
| Wojciech Kilar | .... | orchestrator | |
| Katherine Quittner | .... | music editor | |
| Katherine Quittner | .... | music supervisor | |
| Paul Salamunovich | .... | conductor: L.A. Master Chorale | |
| Tom Boyd | .... | musician: oboe soloist (uncredited) | |
| Shawn Murphy | .... | score mixer (uncredited) | |
| Katherine Quittner | .... | additional orchestrator (uncredited) | |
| Katherine Quittner | .... | composer: additional music (uncredited) | |
| James Thatcher | .... | musician: french horn (uncredited) | |
Transportation Department | |||
| Steve Boyd | .... | transportation captain: second unit | |
| Maxwell R. Johnson II | .... | transportation co-captain | |
| Steven R. Molen | .... | transportation captain | |
| Gregory Dultz | .... | driver (uncredited) | |
Production CompaniesDistributors
- Columbia TriStar Home Video (1992) (USA) (VHS)
- Columbia TriStar Home Video (1997) (USA) (DVD)
- Columbia TriStar Home Entertainment (2004) (USA) (DVD)
- Sony Pictures Home Entertainment (2005) (USA) (DVD) (double feature with "Frankenstein")
- Sony Pictures Home Entertainment (2007) (USA) (DVD)
- Columbia Pictures (1992) (USA) (theatrical)
- Columbia TriStar Films (1993) (Netherlands) (theatrical)
- Columbia TriStar Films de Argentina (1993) (Argentina) (theatrical)
- Falcon (1993) (Czech Republic) (theatrical)
- Finnkino (1993) (Finland) (theatrical)
- Prooptiki (1992) (Greece) (theatrical)
- Columbia TriStar Films de España (Spain)
- Columbia TriStar (Brazil) (DVD)
- Columbia TriStar (video)
- Criterion Collection, The (USA) (laserdisc)
- Egmont Entertainment (2000) (Finland) (DVD)
- Finnkino (1993) (Finland) (VHS)
- Fox Network (1995) (USA) (TV) (broadcast premiere)
- LK-TEL Vídeo (199?) (Brazil) (VHS)
- LK-TEL (1993) (Argentina) (VHS)
- LK-TEL (2007) (Argentina) (DVD) (Blu-ray)
- Nelonen (1998) (1999) (2003) (2005) (Finland) (TV)
- Prooptiki Video (1998) (Greece) (DVD)
- Sony Pictures Home Entertainment Nordic (2007) (Finland) (DVD) (Blu-ray)
- Sony Pictures Home Entertainment (2007) (Netherlands) (DVD) (Blu-Ray Disc)
- Videosonic Arts (1993) (Greece) (VHS)
- Yleisradio (YLE) (1997) (Finland) (TV)
- 4-Ward Productions (additional visual effects)
- Animal Makers
- Available Light Productions (additional animation)
- Colossal Pictures
- Fantasy II Film Effects
- Matte World Digital
- Visual Concept Engineering (VCE) (additional visual effects)
- Alixandre Furs furs
- American Zoetrope re-recording facilities
- Animal Makers prosthetic animals
- Cinema Research opticals
- Columbia Records soundtrack published by
- D. Bassett & Associates negative cutting
- Global Effects dracula's armour manufactured by
- Hansard process compositing
- Kunsthistorisches Museum Wien special thanks
- Reeltime Creative trailer music
- Sony Pictures Studios adr services
- Sony Pictures Studios foley
- Sony Pictures Studios scoring
- Sony electronic cinema
Additional Details
Also Known As:
"Bram Stoker's Dracula" - USA (complete title)
See more »
See more »
MPAA:
Rated R for sexuality and horror violence
Parents Guide:
Runtime:
128 min
Country:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Iceland:16 | Singapore:M18 (re-rating) | Singapore:R(A) | Philippines:R-18 | Brazil:14 | Denmark:15 | Netherlands:16 | Peru:14 | Italy:VM14 | Argentina:13 | Australia:M | Chile:14 | Finland:K-16 | France:-12 | Germany:16 | Ireland:18 | Norway:15 | Portugal:M/16 (Qualidade) | South Korea:15 | Spain:18 | Sweden:15 | UK:18 | USA:R (certificate #31381) | Canada:PA (Manitoba) | Canada:A (Nova Scotia) | Canada:AA (Ontario) | Canada:16+ (Quebec)
Filming Locations:
Company:
Did You Know?
Trivia:
Director Francis Ford Coppola was insistent that he didn't want to use any kind of elaborate special effects or computer trickery when making the movie. He initially hired a standard visual effects team, but they told him that the things he wanted to achieve were impossible without using modern digital technology. Coppola disagreed and fired them, replacing them with his 29 year old son Roman Coppola, who set about achieving some of the effects by using old-school cinematic trickery. A thorough exploration of these effects can be found on the 2007 Special Edition DVD in the In Camera: The Naïve Visual Effects of 'Bram Stoker's Dracula' (2007) (V) featurette and in the 'Heart of Darkness' article from Cinefax magazine (also found on the DVD), but some of the most interesting examples include: - When sitting in the train on his way to Transylvania, Jonathan Harker is looking at a map which appears superimposed on his face. This was a live effect achieved simply by projecting the image of the map onto actor Keanu Reeves' face on set. - In the same scene, outside the window, Dracula's eyes mysteriously appear in the sky, watching Harker as he travels. This was achieved by combining three separate shots. First, the shot of Gary Oldman's eyes was done with him wearing special makeup so that only his eyes would be visible when the image was projected onto the sky backdrop. The next shot involved the projection of the eyes onto the backdrop of the Carpathian Mountain set, making it appear as if two eyes are appearing in the sky. Then, a shot was taken of Keanu Reeves sitting in the train with the combined background/eye shot rear-projected through the window. - Another shot in this sequence involves a close up of Harker's journal with the train appearing to travel along the top of the book, blowing smoke across the pages. This was a forced perspective shot using a huge book and a tiny miniature train model. - After arriving in Translyvania, Harker is met by Dracula's carriage and the driver seems to magically reach out and lift Harker into the carriage. This shot was achieved by having the rider sitting on a camera crane which reached out and brought him towards Keanu Reeves. At the same time, the camera was moved to the right, so it appeared as if the rider's hand wasn't actually stretching, but was simply defying physics. For the lift, Reeves himself was also standing on a fake floor, which was in fact a movable rostrum which raised him up into the carriage. - As the carriage approaches the castle, there is a shot of the castle in the background as the carriage speeds along a narrow driveway. This was achieved by painting the image of the castle onto a piece of glass, and then positioning the glass in front of the camera whilst the scene of the carriage was shot on the sound stage. - The scene when Harker is shaving and Dracula approaches him from behind without a reflection in the mirror was shot by a classic technique as old as cinema itself. The actor with his back to the camera is actually Keanu Reeves double, not Reeves himself, and the 'mirror' is simply a hole in the wall, with the real Keanu Reeves standing on the other side in a portion of the set - hence when the hand touches the shoulder of the double there is no reflection to be seen because there is literally no mirror. - When Harker is exploring the castle, there is a shot of some rats walking on the ceiling upside-down whilst Keanu Reeves descends a staircase right-way-up. This was achieved by using a double exposure. First, the shot of the rats was done with the camera upside-down. Then the film was rewound and a matte box was placed in front of the lens so as to ensure only the correct portion of the image would be exposed. The camera was then turned right way up and the scene of Harker going down the stairs was shot. Due to the matte box, it appears as if the beam with the rats is above Reeves, and because it was shot upside-down, the rats appear to be defying gravity. - The first scenes in London after Dracula's arrival were shot with a real Pathé camera that was being hand cranked. It was also shot on a special Kodak stock to enhance the grain. There were no post-production effects added for this scene. - The scene when Dracula seems to magically catch Mina's bottle was shot by simply having two men and two bottles. On set Winona Ryder drops the bottle and Gary Oldman scoops down and catches it. The camera then pans up to reveal he is already holding it out to Mina seemingly without having raised his hand. In reality, the hand holding the bottle out is a double standing just behind Oldman, wearing identical gloves, and holding a completely different bottle. - For the scenes involving Dracula's POV, Francis Ford Coppola wanted to achieve something unusual, and it was ultimately decided to try to create something of staccato effect. These shots were created using an old piece of equipment rarely used today called an intervalometer. When shooting at 24fps, an intervalometer trims the end of certain frames, and prevents the exposure of certain frames here and there, creating the 'jumpy' effect seen in the scene. Again, this was all accomplished in-camera, no post-production effects were added to the scenes.See more »
Goofs:
Revealing mistakes: When Lord Arthur Holmwood is sitting at watch beside Lucy's bed, the cable that hoists Holmwood up is visible as Dracula's werewolf-like persona bursts through the glass into the room.See more »
Quotes:
Lord Arthur Holmwood:Last week he wanted to marry her. Now he wants to have her committed.See more »
Movie Connections:
Referenced in "The Angry Video Game Nerd: Sega CD? Sega Shit! (#2.8)" (2007)See more »
Soundtrack:
EXELOUMESee more »
FAQ
Is this movie faithful to the book?How was Dracula turned into a vampire?
Is it true vampires cannot cross running water?
See more »
See more (581 total) »
Message Boards
Discuss this movie with other users on IMDb message board for Dracula (1992) See more »Recommendations
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company.
This is the best rendition of Dracula ever captured on film. Gary Oldman's dark and sensual personae outshines any other vampire who ever dare put on a cape. To me Gary Oldman is the most talented and underrated actor ever. He becomes who he is playing, however in this role... Dracula became him... Oldman set the bar so high it is untouchable even to Bela Lugosi. Winona Ryder's delicateness suited the role of Mina/Elisabeta nicely and Keanu Reeves played the unsuspecting and naive Jonathan with satisfaction. However the whole movie comes together because of Gary Oldman's intoxicating essence. He draws the viewers into his darkness and passion and guides them through until the end. This film is drastically romantic and hauntingly captivating- just like a real Dracula movie should be. The cinematography deserved Oldman's phenomenal performance and perfectly created a true vampire realm. Francis Ford Coppola is brilliant. This is the spirit of the vampire.