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Many consider it the greatest introduction in cinematic history – yet the actor stays completely still.

A young FBI agent, just starting out, proceeds down a row of prison cells arriving at Hannibal Lecter's reinforced glass enclosure. He is positioned, with features like a skeletal visage radiating satanic malice, eerily immobile clad in a tight prisoner's blue outfit. He stands frozen until the moment he lunges at the barrier, making that distinctive snarling-hissing noise. Numerous true-crime documentaries have since demonstrated that actual serial killers are often very boring, with nothing resembling Hopkins' powerful on-screen charisma.

He was not an unknown at the time he got the part that won him an Oscar in the 1991 thriller during the late 80s: he was already established, but rather a megastar was cemented. His portrayal of Lecter was based, the actor happily remembers in this new autobiography, on the classic Dracula, on Joseph Stalin based on his daughter's accounts, and also from his rigorously precise drama teacher his mentor Fettes. The scenes also contained a paternal-filial aspect to these scenes; a sore point for the actor, who further explains how his portrayal of Lear was subconsciously influenced by painful regret about Abigail, the estranged daughter from his disastrous first marriage back in 1966 to his first wife, who was angered by his absences and drinking.

The memoir's title is derived from an historical picture of Anthony as a small child playing on the sand with his father – the kid who maybe thought he couldn't make it. He appeared lost, isolated and sensitive child hailing from Port Talbot, his father was Richard Arthur Hopkins, the memorable figure in this story: a baker and a tough individual, a straightforward talker who despised the religious hypocrites at the church and refused to expressing his feelings, yet possessed a touch of nostalgic, emotional sentimentality. It was Hopkins Sr who furiously resented the necessity of going begging to their wealthy relations like Auntie Patty, who was connected to the famous Bevan and could get the young Anthony into an elite school: “Because they're bloody rich!” he exclaims while traveling there. “We're all hoping for some pickings! Bloody rubbish, that's what it is!”

The humility worked, for a while. He was a poor student at the prestigious school. Then, during during an English class he needed to deliver John Masefield's poem titled The West Wind – without prior preparation – and his voice awakened; he stunned the teacher and the other students. He says quite plausibly that poems, alone, launched him. Combined with participating in the YMCA drama club. Surprisingly, he exited school with low prospects, entered the acting world, and amazingly to his parents, was on stage with the great Olivier at the renowned Old Vic within 10 years. He accomplished it mostly independently, although in those days there were grants to attend Rada – a way up for working-class actors. Richard Hopkins was continually impressed by his son's international fame: when he asked Anthony to deliver the Yorick lines from 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 out of frustration – causing Olivier's regret and disapproval – but stumbled upon a memorable TV character as a potential war criminal in the series QB VII, which led indirectly to roles such as in David Lynch's The Elephant Man and a thriving starry career on screen, which he preferred to the stage. He gave up alcohol back in 1975 having been a hell-raising alcoholic, and managed to live into middle age to achieve remarkable acting, including Lecter, the steward Stevens in The Remains of the Day featuring Emma Thompson and the senior with memory loss in the movie The Father – his second Oscar.

In the later sections of the book his personality becomes more opaque, more deliberate. Some of the anecdotage fall a bit flat. He mentions going out for lunch by his co-star in Stone's Nixon, the much-respected actor Sorvino, who sought to advise him his performance as Nixon wasn't working. Was this the chance for him to absorb something from the legendary star of the Goodfellas fame? Not exactly. Anthony appears to agree with the director's criticism of Sorvino as driven due to resentment. Is that so?

He often portrays the no-nonsense, practical performer who thinks you must to be on time, learn everyone's name on set and get on with it. Quite so. However, he also describes facing a rude director who brought a background actor to tears: “Apologise to her! And acquire some decency. If you ever repeat that near me, I'll alter your appearance!” He appears to be someone who gave up drink but possibly not the combativeness that accompanied it. A classical performer like Hopkins must know Cornwall's speech regarding Kent in King Lear: “He cannot flatter, he! A truthful and simple spirit – he is compelled to be honest!”

He finishes his autobiography with a lengthy appendix composed simply