In many respects, Philip Glass was the ideal composer to provide a soundtrack for the re-release of Tod Browning’s Dracula in 1999. Both Hollywood’s ‘first talkie horror movie’ and its starring actor, Bela Lugosi, soon acquired cult recognition after its release in 1931 (Bronfen 2006, p. 158). Equally so, Glass might be regarded as a composer who has a cult following. Glass’s score, which is heard almost entirely through the film, was recorded by the Kronos Quartet, and since its release Glass, Michael Riesman and the Kronos Quartet have toured internationally with critically acclaimed live performances of the work.1