In 1992, when Coppola set out to make an adaptation of Dracula, he was already ranked up there with the Spielbergs and Scorceses of the industry. But that didn't mean he was too big or immodest to learn some tricks from a newcomer. In this case: Sam Raimi. In 1992, Sam Raimi had not yet started the trend of superhero movies that didn't suck with his Spider-Man trilogy. He had not done his critically acclaimed A Simple Plan. In 1992, Raimi was just a young filmmaker most notable for Evil Dead II, and that movie was not yet the cult classic that redefined horror and black comedy it is today. It was still very much a low-budget horror flick known to teen and college audiences. The kind of flick maladjusted creeps like, um, me watched in high school. But clearly Coppola saw its importance.
There are a couple of shots from Evil Dead II that are, for lack of a better word, Raimi-esque. One is his use of sped-up footage from the point of view of the bad guy. This technique is used all through Evil Dead II to create a feeling of an approaching evil (seen at 46 and 56 seconds in during the trailer). Another technique would be extreme close-ups of leading men making way over-the-top crazy faces in the face of unspeakable evil. Coppola makes prominent use of both these techniques in Dracula, much in the way an accomplished filmmaker borrows techniques from a newcomer. Oh wait. That's not much of a metaphor -- that's exactly what Coppola's doing.