"I’ll just start with the Werner Herzog’s Nosferatu. That’s one of my top fives, primarily because I love the Dracula story, of course. And I’m a huge fan of the 1922 [F.W.] Murnau film and I love that Herzog took the time to go to the actual locations where the original was shot. It’s just so simple and it is such a slow, deliberate mood throughout the film that borders on taking too much time — to the point where it’s almost a meditative state as a viewer that you get into.
And that’s not even counting Klaus Kinski‘s portrayal of the vampire which, to me, rivals the [Max] Schreck 1922 portrayal. But I’m such a Kinski fan, and knowing — having insight as to how out of his mind he was in real life — portraying the vampire really lends a lot of layers to viewing it. It’s one of those few cases in which knowing the actor that portrays the role actually creates more depth in the role itself. Where normally you would want to avoid that kind of influence, in this case it really works. Because Klaus Kinski’s so unpredictable as a human being. I would imagine, based on what I’ve heard, much like Max Schreck was in 1922, it’s really a lot of interesting parallel there. For a color adaptation, it’s almost camp, in a way, but… it hasn’t crossed that line — but it almost is. I think the portrayal of Jonathan, and frankly, the girl in it [Isabelle Adjani as Lucy Harker] is probably one of the most beautiful women I’ve ever seen in my life. If you haven’t seen it in a while, revisit it… she’s just insane."
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