shooting at times. Like some of her co-stars, despite this role becoming her most famous one, she didn't care much about it: "It would be an awful fate, for instance, to go around being a pale little girl in a trance with her arms outstretched as in Dracula, all the rest of my screen career!" The peasants at the beginning are praying in Hungarian, and the signs in the village are also in Hungarian. This was because when Bram Stoker wrote the original novel, the Borgo Pass in Transylvania was then part of the Kingdom of Hungary and within the Austro-Hungarian Empire. By the time the film was made, Transylvania had been part of the Kingdom of Romania since the end of World War I in 1918. The scenes of crew members on the ship struggling in the violent storm were lifted from a Universal silent film, The Storm Breaker (1925). Photographed at silent film projection speed, this accounts for the jerky, sped-up appearance of the footage when projected at 24 frames per second sound film speed and cobbled together with new footage of Dracula and Renfield. Jack Foley himself was the foley artist who produced the sound effects. The picture was completed for a total cost of $341,191.20, which was under the original estimate of $355,050. Before the film was even released, Lugosi worried that it would cause him to be type cast. He reportedly rejected an offer to reprise his role as Dracula in another stage tour of the play, stating: "No! Not at any price. When I'm through with this picture I hope to never hear of Dracula again. I cannot stand it...I do not intend that it shall possess me". Cinematic process The film's histrionics from the stage play are also reflected in its special effects, which are limited to fog, lighting, and large flexible bats. Dracula's transition from bat to person is always done off-camera. The film also employs extended periods of silence and character close-ups for dramatic effect, and employs two expository intertitles and a closeup of a newspaper article to advance the story, a seeming holdover from silent films; a point made by online film critic James Berardinelli is that the actors' performance style seems to belong to the silent era. Director Tod Browning had a reputation as a silent film director, having made them since 1915, including ten horror blockbusters with Lon