by Gina Falke

One of the key elements lies in the details you add when creating a character; for example, how they move, think, or speak. What inspired me to write about vampires was growing up watching the old black-and-white classics, such as Dracula (1931) starring Bela Lugosi and Frankenstein (1931) starring Boris Karloff, two actors who brought something so unique to their roles that we are still talking about their performances today. I’m fascinated by great stories and why they work.

As the saying goes, “You never invite a vampire in.” I’m a huge fan of black-and-white horror films from the 1930s through the 1970s, featuring the legendary actors of the time. To me, Universal and Hammer Films, though very different in pacing and approach to violence, have always been my favorites. The restraint and deliberate pacing of the classic Universal films, coming off the silent era, gave actors more room to breathe, allowing them to truly command a scene, especially with so little background music. In contrast, the vivid gore and sensuality of the boundary-pushing Hammer Films brought a new flavor to the genre, filled with violence, cleavage, over-the-top scores, and a more modern tempo. Both the classic approach and this bolder style have had a lasting influence, and many of today’s horror writers and filmmakers are clearly drawing inspiration from both traditions.

Bela Lugosi, an accomplished stage actor, brought a distinct theatrical elegance to the role of Dracula, setting a standard for how the character would be portrayed for decades to come, ushering in a slew of filmmakers who wanted their Dracula to have a similar sense of suave. This interpretation inspired a wide range of successors: Frank Langella, John Carradine, Gary Oldman, Lon Chaney Jr., George Hamilton, Jack Palance, and Christopher Lee, all of whom possess their own distinct blend of aristocratic charm, elegance, menace, and charisma. While some leaned into the seductive mystique and others embraced the raw terror of the character, each portrayal carried echoes of Lugosi’s iconic presence, forever shaping the cultural image of the Count.

So casting the right person to portray Dracula, Frankenstein, or any of the other classic horror characters was crucial, and the classics set the stage for what we see today. However, location and the storyline itself are vital as well. Growing up with these movies regularly playing on TV greatly influenced me because I wanted to write them, be part of the process.

After the black and white classics, color arrived and changed the aspects of horror. It was always the illusion of blood versus seeing red blood and all the glorious gore. Implied versus in-your-face. I’m not suggesting one is scarier than the other, but I think it’s important to understand why both work and, if you’re interested in writing, how to take those elements and create your own narrative. History repeats itself, but if you don’t understand and appreciate the classic horror films from Universal, you miss how we got to the Hammer Films, and how today’s successful filmmakers are influenced by both.

In more modern horror films, music plays a vital role in setting the mood, building anticipation, and creating memorable, epic scenes. A great score or soundtrack can elevate a film from good to iconic. Films like John Carpenter’s Vampires (1998), Fright Night (1985) written and directed by Tom Holland, and Blacula (1972), a groundbreaking and underrated entry in vampire cinema, all use music to heighten their atmosphere. The Lost Boys (1987), directed by Joel Schumacher, stands out not just for its stylish visuals and sharp writing but for its unforgettable soundtrack, which became a defining part of the film’s identity.

You can even trace the importance of music and mood back to early horror television, such as Dark Shadows (1966). Though made for daytime TV, it pushed boundaries with a gothic tone and storylines that featured not just vampires but also werewolves, warlocks, ghosts, zombies, and even time travelers. It was eerie and haunting in a way that resonated with audiences of its time.

Even the 1931 Dracula, minimalist as it was, opened with Tchaikovsky’s Swan Lake, a piece later reused in The Mummy (1932), hinting at how crucial even a single musical cue could be in setting the tone. Music has always been a backbone of horror, and as the genre has evolved, so has the use of sound to amplify fear, tension, and emotion. These films, with their atmosphere, performances, and especially their music, are what drew me to horror in the first place, and why I continue to write in the genre today.

Gina Falke is an award-winning screenwriter of Second Chances and author of Princess Djina of Rasnov Romania, the first in a five book series. Stay connected @gina_l_falke_official. You can also follow her on both Facebook and Instagram at Vampiress Djina. Explore her novels and more at glfcreations.com

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