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It stands as the greatest introduction in cinematic history – and he remains completely still.

A young FBI agent, new to the job, must walk a row of prison cells arriving at Dr. Lecter's reinforced glass enclosure. He is positioned, with features like a living skull radiating satanic malice, chillingly static clad in a tight prisoner's blue outfit. He remains motionless right up until he propels himself against the glass, emitting that distinctive snarling-hissing noise. Countless real-crime films have since shown that actual serial killers are often very boring, lacking anything like the actor's captivating film persona.

He wasn't exactly a newcomer when he landed that Oscar-winning role in The Silence of the Lambs in 1989: he was already established, instead, a superstar emerged. The character of Hannibal was inspired, the actor happily remembers in his latest book, on Bela Lugosi's Dracula, on the Soviet leader as recalled by his daughter, and also from his rigorously precise drama teacher his instructor Fettes. The scenes also contained a paternal-filial aspect in these moments; a difficult topic for Anthony, who further explains how his portrayal of Lear was indirectly affected by deep-seated remorse regarding his daughter Abigail, his distant daughter from his initial marriage back in 1966 to Petronella Barker, who disliked him being away and his drinking habits.

The title originates from an old wartime photo of Hopkins as a toddler on the beach with his dad – 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 here: a bread-maker and a tough individual, a plain speaker who loathed the religious hypocrites in their community and didn't believe in expressing his feelings, but had a streak of wistful, tearful romanticism. It was Hopkins Sr who furiously resented how they were forced begging to their wealthy relations like Auntie Patty, whose spouse was acquainted with the politician Nye Bevan and could get Anthony as a boy into a prestigious academy: “Since they are extremely wealthy!” he raves during the car ride. “We are all expecting handouts! Bloody rubbish, that's what it is!”

The pleading was effective, for a while. He was a poor student in his new institution. But one day in a literature class he had to recite the poem by Masefield titled The West Wind – without seeing it first – and his talent emerged; he amazed the instructor and the other boys. He convincingly states that poetry, on its own, started his career. Combined with participating in the dramatic society at the YMCA. Surprisingly, he exited school without much hope, pursued acting, and shocking his family, was on stage alongside Laurence Olivier at the renowned Old Vic within 10 years. He accomplished it mostly independently, though at that time financial aid was available to go to Rada – an opportunity for actors from humble backgrounds. Richard Hopkins was continually impressed with Anthony's worldwide acclaim: on asking his son to recite the Yorick speech from Shakespeare's Hamlet, Richard listened carefully and then retreated to another room and burst into tears.

As for the hot-tempered, bloody-minded son, he departed the theatrical troupe in a fit of pique – much to Olivier's disappointment and disapproval – but fortunately found a great TV role as a potential war criminal in the series QB VII, which eventually resulted to roles such as in the film The Elephant Man and a luminous film journey on screen, that he favored compared to stage acting. And he quit booze back in 1975 having been a hell-raising alcoholic, and managed to live into middle age to execute great performances, like Hannibal Lecter, the steward Stevens in the film The Remains of the Day alongside Emma Thompson and the elderly man with dementia in the movie The Father – his second Oscar.

During the second part of the memoir his character seems more elusive, more studied. A few tales doesn't quite come off. He mentions having lunch by his co-star in Oliver Stone's Nixon, the highly regarded performer Sorvino, who sought to advise him his acting as Nixon was falling short. Was this the opportunity for Hopkins to learn something from the legendary star of the Goodfellas fame? Hardly. Hopkins seems to go along with Stone's rejection of Sorvino as being motivated out of envy. Really?

He often portrays the tough, down-to-earth professional actor who believes it's your duty to be on time, learn everyone's name on set and proceed with the work. Quite so. However, he also describes facing a rude director who'd made a young extra cry: “Say sorry to her! And develop some respect. If you ever repeat that near me, I'll alter your appearance!” Anthony comes across as an individual who stopped drinking but possibly not the combativeness that accompanied it. A Shakespearean like him is aware of Cornwall's lines on Kent in King Lear: “He is incapable of flattery! A truthful and simple spirit – he must speak truth!”

He finishes his autobiography with an extensive addendum composed simply