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Many consider it the most memorable appearance in movie lore – and he remains utterly motionless.

Clarice Starling, just starting out, navigates a corridor of cells finally encountering Hannibal Lecter's secure glass tank. The man is present, his face resembling a skeletal visage exuding demonic evil, eerily immobile wearing a snug prisoner's blue outfit. He remains motionless right up until he lunges at the barrier, emitting that unforgettable spitting-growling noise. A multitude of true-crime documentaries have since revealed that real-life murderers are often very boring, lacking anything like the actor's powerful on-screen charisma.

He wasn't exactly a newcomer when he landed his Academy Award-winning part in The Silence of the Lambs during the late 80s: he was already established, instead, a superstar emerged. The character of Hannibal was based, Hopkins cheerfully recalls in his recent memoir, on Bela Lugosi's Dracula, on Joseph Stalin as recalled by his daughter, and on his own strictly demanding acting coach his instructor Fettes. Additionally, there existed a paternal-filial aspect in these moments; a painful subject for Anthony, who also describes how his King Lear was subconsciously influenced by painful regret about Abigail, the estranged daughter from his disastrous first marriage back in 1966 to Petronella Barker, who disliked him being away and his alcohol use.

The book's name comes from an historical picture of a young Hopkins with his father at the seaside – the child who might have felt he wouldn't succeed. He appeared lost, lonely, vulnerable little boy from Port Talbot, his father was Richard Arthur Hopkins, the scene-stealing supporting player in the narrative: a bread-maker and a tough individual, a direct communicator who loathed the sanctimonious churchgoers in their community and didn't believe in displaying emotion, but also exhibited wistful, tearful romanticism. It was Hopkins Sr who was angered by how they were forced humbly to their wealthy relations such as Aunt Patty, whose spouse was acquainted with the famous Bevan and was able to secure the young Anthony into a prestigious academy: “Due to their immense riches!” he raves in the car on the way there. “We're all hoping for some pickings! Total garbage, that's all it is!”

The humility worked, for a time. He was a poor student at the prestigious school. Then, during in a literature class he had to recite John Masefield's poem titled The West Wind – sight unseen – and his voice awakened; he amazed the instructor and his classmates. He convincingly states that poetry, on its own, launched him. This, and joining the dramatic society at the YMCA. Notably, he graduated with low prospects, entered the acting world, and to the astonishment of his parents, was acting alongside Laurence Olivier at the famous theater within 10 years. He largely achieved it alone, even though back then scholarships existed to go to Rada – a path to success for actors from humble backgrounds. His father was always amazed with Anthony's worldwide acclaim: when he asked Anthony to recite the Yorick speech from Hamlet, Hopkins Sr listened attentively and then left the room and began crying.

As for the hot-tempered, strong-willed son, he left the National Theatre in a moment of anger – much to Olivier's disappointment and criticism – but fortunately found a memorable TV character playing an alleged war criminal in the show based on Uris's work, which eventually resulted to parts like that in Lynch's The Elephant Man and a successful acting career in movies, which he preferred compared to stage acting. He gave up alcohol back in 1975 once a notorious drinker, and thus made it into middle age to deliver outstanding roles, including Lecter, the servant Stevens in the movie with Emma Thompson alongside Emma Thompson and the old man with dementia in his film The Father – his second Oscar.

In the latter half of the book his character seems more elusive, more deliberate. A few tales doesn't quite come off. He recalls being taken out to lunch with his fellow actor in the film Nixon, the much-respected actor Paul, who intended to inform him his portrayal of Nixon was falling short. Was this the moment for Hopkins to learn advice from the renowned performer from Goodfellas? Not really. Hopkins seems to go along with Stone's dismissal of Sorvino as driven out of envy. Truly?

He repeatedly performs the no-nonsense, practical performer who believes it's your duty to arrive punctually, know all the crew's names and do the job. Indeed. But he also recounts standing up to an unpleasant filmmaker who caused a young extra to weep: “Apologise to her! And acquire some decency. If you ever repeat that in front of me, I'll change the shape of your face! Anthony comes across as someone who gave up drink but maybe not the belligerence that accompanied it. A classical performer like Hopkins must know the lines about Kent from Cornwall from the play Lear: “He does not know how to flatter! An honest mind and plain – he is compelled to be honest!”

He finishes his autobiography with an extensive addendum composed simply