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It stands as the greatest introduction in cinematic history – while he stands without moving a muscle.

Clarice Starling, just starting out, navigates a corridor of cells until she reaches Dr. Lecter's secure glass tank. There he stands, his face resembling a living skull exuding demonic evil, eerily immobile in his form-fitting blue inmate uniform. He doesn't move until the moment he throws himself toward the window, producing that extraordinary hissing-slavering sound. Countless real-crime films have since revealed that actual serial killers tend to be quite dull, with nothing resembling Hopkins' powerful on-screen charisma.

Hopkins was hardly unrecognized upon receiving that Oscar-winning role in the iconic film back in 1989: it wasn't his debut, but rather a megastar was forged. His portrayal of Lecter drew influence, Hopkins notes with amusement in this new autobiography, from Lugosi's Dracula, on Stalin as recalled by his daughter, and also from his strictly demanding acting coach his mentor Fettes. There was also a parent-child dynamic in these moments; a sore point for Hopkins, who also describes how his King Lear was subconsciously influenced by painful regret about Abigail, the estranged daughter from his disastrous first marriage in 1966 to Petronella Barker, who resented him being away and his drinking habits.

The book's name comes from an historical picture of a young Hopkins playing on the sand with his father – the boy who perhaps believed he couldn't make it. He felt confused, shy and fragile youth hailing from Port Talbot, his father was Richard Arthur Hopkins, the standout secondary character in this story: a bread-maker and man's man, a direct communicator who detested the sanctimonious churchgoers at the church and refused to displaying emotion, but also exhibited nostalgic, emotional sentimentality. Richard Hopkins who furiously resented the way they had to go humbly to their wealthy relations like Auntie Patty, whose spouse was acquainted with Nye Bevan and could get young Anthony into a prestigious academy: “Since they are extremely wealthy!” he exclaims while traveling there. “We're all hoping for some pickings! Total garbage, that's all it is!”

The pleading was effective, for a time. He was a poor student at the prestigious school. But one day in a literature class he needed to deliver John Masefield's poem known as The West Wind – without seeing it first – and his voice awakened; he shocked the educator and the other students. He reasonably claims that poems, alone, propelled him forward. Combined with participating in the YMCA theater group. Remarkably, he left school with low prospects, pursued acting, and to the astonishment of his parents, was on stage with the great Olivier at the Old Vic within 10 years. He accomplished it mostly independently, even though back then there were grants to go to Rada – an opportunity for actors from humble backgrounds. His dad remained in awe with Anthony's worldwide acclaim: on asking his son to deliver the Yorick lines from the play Hamlet, Hopkins Sr listened attentively and then went into another room and began crying.

Regarding the fiery, bloody-minded son, he quit the National Theatre company in a fit of pique – causing Olivier's regret and criticism – but lucked into a memorable TV character playing an alleged war criminal in the series QB VII, which eventually resulted to roles such as in Lynch's The Elephant Man and a successful acting career in movies, which he liked more over theater. He gave up alcohol back in 1975 after being a heavy drinker, and thus made it into his later years to execute great performances, including Lecter, the butler Stevens in the movie with Emma Thompson with Emma Thompson and the old man with dementia in The Father – his next Oscar win.

During the second part of the book his character seems more elusive, more calculated. A few tales aren't entirely successful. He mentions having lunch by his co-star in the film Nixon, the highly regarded performer Sorvino, who sought to advise him his portrayal of Nixon was falling short. Was this the moment for Anthony to gain insight something from the legendary star of Scorsese's Goodfellas? Hardly. Hopkins seems to go along with Stone's rejection of Sorvino as driven by jealousy. Is that so?

He repeatedly performs the tough, down-to-earth professional actor who maintains it's your duty to get there on time, know all the crew's names and proceed with the work. Absolutely. However, he also describes standing up to an unpleasant filmmaker who brought a background actor to tears: “Say sorry to her! And develop some respect. Should you ever act that way around me, I'll rearrange your face! Anthony comes across as someone who gave up drink but possibly not the combativeness that went with it. A classical performer like Hopkins is aware of Cornwall's lines on Kent from the play Lear: “He does not know how to flatter! An honest mind and plain – he always tells the truth!”

Hopkins concludes his book with an extensive addendum composed simply