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Many consider it the most iconic appearance in cinematic history – while he stands utterly motionless.

Clarice Starling, a rookie, proceeds down a corridor of cells until she reaches Dr. Lecter's secure glass tank. There he stands, his face resembling a living skull radiating satanic malice, eerily immobile wearing a snug blue inmate uniform. He remains motionless until the moment he propels himself against the glass, making that unforgettable spitting-growling noise. Numerous real-crime films have since revealed that actual serial killers are often very boring, lacking anything like the actor's powerful on-screen charisma.

He was not unrecognized when he landed his Academy Award-winning part in the iconic film during the late 80s: it wasn't his debut, but a legend was cemented. His portrayal of Lecter was inspired, the actor happily remembers in his latest book, on the classic Dracula, on Joseph Stalin as recalled by his daughter, and on his own rigorously precise Rada tutor his mentor Fettes. The scenes also contained a paternal-filial aspect within the narrative; a painful subject for Anthony, who recounts how his King Lear was subconsciously influenced by deep-seated remorse about Abigail, the estranged daughter from his failed first union during the 60s to his first wife, who was angered by him being away and drinking.

The memoir's title is derived from an old wartime photo of Anthony as a small child on the beach with his dad – the boy who perhaps believed he would never do OK. He felt confused, shy and fragile youth raised in Port Talbot, his father was Richard Arthur Hopkins, the standout secondary character in this story: a bread-maker and man's man, a plain speaker who loathed the sanctimonious churchgoers in their community and avoided expressing his feelings, but had a streak of nostalgic, emotional sentimentality. His father who deeply disliked the way they had to go humbly to their rich relatives like Auntie Patty, who was connected to the politician Nye Bevan and was able to secure the young Anthony into an elite school: “Due to their immense riches!” he shouts during the car ride. “Everyone is looking for scraps! Bloody rubbish, that's what it is!”

The pleading was effective, temporarily. Anthony struggled academically in his new institution. Then, during during an English class he was required to perform the verse by John Masefield The West Wind – sight unseen – and that voice came to life; he amazed the instructor and the other students. He convincingly states that verse, by itself, launched him. This, and joining the YMCA drama club. Notably, he graduated a no-hoper, pursued acting, and shocking his family, was performing with Laurence Olivier at the Old Vic in under a decade. He largely achieved it alone, even though back then financial aid was available to attend Rada – an opportunity for actors from humble backgrounds. His father was always amazed with Anthony's worldwide acclaim: when he asked Anthony to perform the Yorick monologue from Shakespeare's Hamlet, Hopkins Sr listened attentively and then went into another room and began crying.

Regarding the fiery, strong-willed son, he departed the theatrical troupe out of frustration – to Olivier's profound dismay and disapproval – but fortunately found a great TV role as a potential war criminal in the series QB VII, which paved the way to roles such as in the film The Elephant Man and a thriving starry career in movies, which he liked more to the stage. He gave up alcohol during the mid-70s after being a heavy drinker, and so survived into his later years to execute great performances, including Lecter, the butler 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 Academy Award.

In the later sections of the book he appears more reserved, more studied. Some of the anecdotage doesn't quite come off. He mentions having lunch by his co-star in Stone's Nixon, the esteemed thespian Sorvino, who intended to inform him his performance as Nixon wasn't effective. Was this the opportunity for him to absorb a lesson from the famous actor from Goodfellas? Not exactly. Anthony appears to agree with Stone's rejection of Sorvino as being motivated due to resentment. Really?

He consistently acts as the tough, down-to-earth professional actor who thinks you must to be on time, know all the crew's names and proceed with the work. Absolutely. Yet he also tells confronting an obnoxious director who'd made a young extra cry: “Say sorry to her! And learn some manners. Should you ever act that way in front of me, I'll change the shape of your face! He appears to be someone who gave up drink but possibly not the combativeness that accompanied it. A classical performer like Hopkins must know the lines about Kent from Cornwall in King Lear: “He cannot flatter, he! A truthful and simple spirit – he must speak truth!”

Anthony ends his memoir with a lengthy appendix composed simply