THE NORTH RIDING PROJECT

The world premiere of Dracula was set for Friday, February 13, at the country’s unofficial cathedral of the motion picture, the Roxy Theatre in New York. The ball was now squarely in the court of Paul Gulick, Universal’s head of promotion in New York. He had already placed a number of lurid trade ads in Variety, Motion Picture Herald, and elsewhere featuring an artists’s conception of Bela Lugosi, eyes glowing and hairpiece blowing as he leaned over a sleeping woman with prominent nipples. The same breasts would also be given play on the cover of a tie-in edition of the novel, to be published by Grosset and Dunlap, no matter that the actual women in the film were corseted to the throat.

Skral/Hollywood, 2014

I’ve always wanted to direct a film about Dracula, because that was my favourite book as a kid. I was obsessed with it and read it, like, five times. There have been so many Dracula films made, but I don’t think anyone has ever really made a real Bram Stoker one. I didn’t really like Francis Ford Coppola’s one. It was too cartoonish. I think if I did a version, it could be real scary and sexy.

Chloe Sevigny

Fracula arrives in Whitby but his route towards London grinds to a halt in notoriously inaccessible Fryupdale, where he finds the locals’ blood, distilled by generations of inbreeding, distinctly to his liking. With the help of a pair of besotted local vamp fans, Fracula duly lands a job as scarer-in-residence at the local Dracula Experience and sets about feeding his insatiable appetite in the middle of the moors.

Fracula/unpub