So, the choice for the music was to make it timeless, with no cultural roots other than the search for a contemporary sound in an imagined Central Europe. Even if, as described above, the choice of performers led us to root the music in a second stage. My first task was to establish the themes that punctuate the film and to arrange them in a modal way, so as to leave plenty of room for the performers. What's more, I had to keep an eye on the overall balance at every stage. Then, throughout the workshops, I had to allow for dialogue, listening and re-creation, all the while aiming to make this music as grounded as possible and as original as possible, a term that is perhaps more appropriate. To make the music as astonishing as Dracula's theme, firmly planted in Transylvania, while at the same time reading and listening to it. I wanted to match the music to the project without overpowering it, while bringing in new blood. It's interesting to read how the various protagonists have responded to this question, depending on their origin, age and interest in this cinematic theme. The last adaptation of the subject dates back to 2024, so the theme is still very much alive. The Death of Dracula takes us into a dream world for which I tried to create, with the help of all the participants, a soundtrack somewhere between a dream and a nightmare. Sára Domahidi: I think it's great that a Transylvanian remake of a Transylvanian film can be made now and not by chance. Renáta Gyárfás: I'm delighted that this project has been created and above all that it's not amateurish at all. It has completely exceeded my expectations, especially as it is largely the work of young filmmakers, and I hope that this project will reach the widest possible audience in this format. Nóra Krokovay: It's great if a story travels to many places, if many people know it, adapt it, change it and then it's great if it comes back. Then you can see what's been added to it, what its ‘origial’ 142