Krzysztof Zanussi told an interesting anecdote related to "Dracula", recalling that when Kilar went to Coppola with the music to "Dracula", he met with the music editors prior to recording it. “And they asked whether he did all the instrumentation himself? In the subtext they had to remember adventures with various songwriters, who can’t read music, but who write some kind of music. American editors are accustomed to the situation that a composer comes, bangs out some melody on the piano, and then a craftsman appears, who knows about instruments, about the orchestra and composition and writes it out for instruments. And Wojtek was treated just like that at the beginning. Wojtek reacted, as he said, with great indignation, "But I am a composer, so I orchestrate, it is an integral part of my job." And the editor replied with sadness, "Well, because you know Sir, there are a few more tens of thousands of dollars to do the instrumentation, would you not want us to pay you this?" And then Wojtek cried out in a loud voice, "But of course" - because he understood that it was not about honour, just about the money!” (Maria Malatyńska Agnieszka Malatyńska-Stankiewicz, „Scherzo dla Wojciecha Kilara”, 2002)

Subsequent years brought such works as "Sinfonia de motu" dedicated to the Polish physicists, the “September Symphony”, “Advent Symphony”, “Veni Creator”, “Magnificat”, “Easter Hymn” and many others. In them the composer reveals a clear tendency to simplify his musical language, use of his characteristic repetitions of themes and musical phrases, and long harmonic-textural planes. One of the composer's latest work was the "Piano Concerto II", which had a very successful premiere on October 14, 2011 in Katowice.

Wojciech Kilar died on 29 December 2013 in Katowice.