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Widely regarded as the most memorable appearance in movie lore – while he stands completely still.

Clarice Starling, just starting out, proceeds down the line of detention units until she reaches the notorious doctor's transparent prison. The man is present, appearing as a skeletal visage exuding demonic evil, chillingly static clad in a tight blue prison jumpsuit. He doesn't move until the moment he throws himself at the barrier, producing that distinctive snarling-hissing noise. A multitude of documentaries on serial killers have since revealed that real-life murderers tend to be quite dull, far from Anthony Hopkins's powerful on-screen charisma.

He wasn't exactly unrecognized when he landed that Oscar-winning role in the 1991 thriller in 1989: he was already established, but rather a megastar emerged. The character of Hannibal was inspired, the actor happily remembers in this new autobiography, on the classic Dracula, on Stalin according to his daughter's memories, as well as his strictly demanding drama teacher his mentor Fettes. The scenes also contained a paternal-filial aspect within the narrative; a painful subject for the actor, who recounts how his King Lear was unknowingly shaped by painful regret about Abigail, the estranged daughter from his failed first union in 1966 with Petronella Barker, who disliked his absences and drinking.

The book's name comes from a vintage war-era photograph of Anthony as a small child on the beach with his dad – 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 scene-stealing supporting player in the narrative: a bread-maker and man's man, a straightforward talker who detested the sanctimonious churchgoers of the chapel and avoided displaying emotion, but also exhibited wistful, tearful romanticism. It was Hopkins Sr who furiously resented the way they had to go cap-in-hand 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 exclaims during the car ride. “Everyone is looking for scraps! Bloody rubbish, that's what it is!”

The pleading was effective, for a while. Anthony struggled academically in his new institution. Then, during in an English lesson he needed to deliver the poem by Masefield known as The West Wind – sight unseen – and that voice came to life; he amazed the instructor and the other students. He says quite plausibly that poems, alone, started his career. This, and joining the dramatic society at the YMCA. Remarkably, he left school with low prospects, entered the acting world, and shocking his family, was performing with Laurence Olivier at the Old Vic within 10 years. He more or less did it on his own, even though back then scholarships existed to attend Rada – a path to success for performers from modest means. His dad remained in awe by his son's international fame: upon requesting his son to recite the Yorick speech from Hamlet, Hopkins Sr listened attentively and then retreated to another room and wept openly.

Regarding the fiery, strong-willed son, he left the National Theatre in a fit of pique – much to Olivier's disappointment and criticism – but stumbled upon a memorable TV character as a suspected war criminal in Leon Uris's QB VII, which paved the way to characters including in the film The Elephant Man and a successful acting career on screen, which he preferred compared to stage acting. He stopped drinking back in 1975 once a notorious drinker, and thus made it into middle age to achieve remarkable acting, such as Lecter, the servant Stevens in the film The Remains of the Day featuring Emma Thompson and the elderly man with dementia in his film The Father – his next Oscar win.

In the later sections of the book his personality becomes more opaque, more studied. Certain stories fall a bit flat. He mentions going out for lunch alongside his cast mate in the film Nixon, the much-respected actor Sorvino, who intended to inform him his performance as Nixon was falling short. Was this the moment for Anthony to gain insight a lesson from the famous actor of Scorsese's Goodfellas? Not really. Hopkins seems to go along with the director's criticism of Sorvino as driven by jealousy. Is that so?

He repeatedly performs the tough, down-to-earth professional actor who thinks it's your duty to arrive punctually, know all the crew's names and get on with it. Indeed. However, he also describes confronting an obnoxious director who brought a background actor to tears: “Apologise to her! And acquire some decency. Should you ever act that way around me, I'll rearrange your face! He appears to be someone who gave up drink but maybe not the belligerence that came with it. A Shakespearean like him must know the lines about Kent from Cornwall from Lear: “He is incapable of flattery! A truthful and simple spirit – he is compelled to be honest!”

He finishes his autobiography with an extensive addendum composed simply