Então para os outros sou aquele estranho que surpreendi no espelho: sou ele e não eu, tal como me conheço! Sou aquele estranho que, à primeira vista, não reconheci. Aquele estranho que não posso ver viver a não ser assim, num instante inesperado. Um estranho que só os outros podem ver e conhecer.
"Renfield was a masochist's nirvana. Waits wore a straitjacket for much of it, as well as manacles that imprisoned each finger individually (based on an actual apparatus used in Italy two centuries ago to teach young pianists to keep the proper position at the keyboard), thick glasses and one of those Supercuts-from-Bedlam haircuts. For a good deal of the movie, he was wet. "I was hosed down," he says. "And they seemed to want me that way...I got to have a really meaningful scene with Winona Ryder. Not how I imagined it would be, though. Bug juice dripping from the corners of my mouth. Unshaven. Totally gray. Screaming behind bars. Not how I saw our scene together. But I tried to rise above it." One more "Dracula" item, heretofore unreported, bears mentioning: Waits' voice was employed for the "primitive" vocal utterances of the Count. Gary Oldman was unable to get the desired horrific element into the lusty animalistic grunts and snarls of the character, so Waits was enlisted: "There's the lady in the back of the room with the bifocals on the chain, and the sweater, and the hair up, coffee and a cigarette, looking at the script," says Waits with bemusement, "and they're telling me, 'Tom, it's deep growl - you're killing her, and yet you're drinking of her'. And she looks up from her coffee and says, 'Tom - savor it!' And then looks back at her script. 'Oh, OK, savor it.' It was like porno radio. It was actually demeaning. But I think it will be good."