Bela Lugosi as Dracula (1931)
|Born||BÃ©la Ferenc DezsÅ‘ BlaskÃ³
20 October 1882
Lugos, Transylvania, Kingdom of Hungary, Austria-Hungary (now Lugoj, Romania)
|Died||16 August 1956
Los Angeles, California, U.S.
|Cause of death||Heart attack|
|Resting place||Holy Cross Cemetery|
|Other names||The King of Horror|
|Height||6 ft 2 in (188 cm)|
|Spouse(s)||Ilona Szmick (m. 1917; div. 1920)
Ilona von Montagh (m. 1921; div. 1924)
Beatrice Weeks (m. 1929; div. 1929)
Lillian Arch (m. 1933; div. 1953)
Hope Lininger (m. 1955; his death 1956)
|Children||Bela George Lugosi|
|Parent(s)||IstvÃ¡n BlaskÃ³ (father)
Paula de Vojnich (mother)
In the studio the director controls the actor's every move, every inflection, every expression.
It took me years to live down Dracula and convince the film producers that I would play almost any other type of role.
The actor depends wholly on himself. He gives his performance in what, to him, seems the most effective manner.
I have never met a vampire personally, but I don't know what might happen tomorrow.
People, chained by monotony, afraid to think, clinging to certainties… they live like ants.
Because of my language and the pantomime with which most Europeans accompany their speech, I was catalogued as a heavy.
Actors were exploited no less by the capitalist managers than they were by the state.
I guess I'm pretty much of a lone wolf. I don't say I don't like people at all, but, to tell you the truth, I only like it then if I have a chance to look deep into their hearts and their minds.
I studied at the Budapest Academy of Theatrical Arts for four years and emerged with a degree.
In Hungary, acting is a career for which one fits himself as earnestly as one studies for a degree in medicine, law, or philosophy.
In making theories, always keep a window open so that you can throw one out if necessary.
If my accent betrayed my foreign birth, it also stamped me as an enemy, in the imagination of the producers.
There was no male vampire type in existence. Someone suggested an actor of the Continental School who could play any type, and mentioned me.
The vampire was a complete change from the usual romantic characters I was playing, but it was a success.
I'd like to quit the supernatural roles and play just an interesting, down-to-earth person.
You can't make people believe in you if you play a horror part with your tongue in your cheek.
It is women who bear the race in bloody agony. Suffering is a kind of horror. Blood is a kind of horror. Women are born with horror in their very bloodstream. It is a biological thing.
My body grew hot, then cold. I tried to eat the bed sheets. My heart beat madly. Every joint in my body ached. When I took the cure they took it all away from me.
It was hell to go through what I went through. I didn't know I had so many friends. Many people gave a damn about my situation. They helped cure me.
The former ruling class kept the community of actors in ignorance by means of various lies.
I'll be truthful. The weekly paycheck is the most important thing to me.
Of all the roles I've done on the stage, I'm partial to Cyrano de Bergerac.
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.
It took several years of hard work in small roles before I attained stardom.
Circumstances made me the theatrical personality I am, which many people believe is also a part of my personal life.
I don't have a dime left. I am dependent on my friends for food and a small old-age pension.
Without movie parts I was reduced to freak status. I just couldn't stand it.
Every actor is somewhat mad, or else he'd be a plumber or a bookkeeper or a salesman.
I enjoy my work. I haven't been an actor for 30 years without getting pleasure out of the profession.
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.
A screen actor is compensated in the knowledge that millions will see his performance at one time, where only hundreds will see it on the stage.
It is women who love horror. Gloat over it. Feed on it. Are nourished by it. Shudder and cling and cry out-and come back for more.