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Many consider it the most iconic appearance in film history – while he stands completely still.

Clarice Starling, just starting out, must walk the line of detention units arriving at Hannibal Lecter's secure glass tank. He is positioned, his face resembling an animated death's head exuding demonic evil, eerily immobile wearing a snug blue inmate uniform. He stands frozen until the moment he propels himself at the barrier, making that distinctive snarling-hissing noise. Countless documentaries on serial killers have since shown that genuine criminals tend to be quite dull, lacking anything like Anthony Hopkins's captivating film persona.

Hopkins was hardly unrecognized upon receiving that Oscar-winning role in the iconic film back in 1989: a star wasn't born, instead, a superstar emerged. The character of Hannibal drew influence, Hopkins notes with amusement in his latest book, on the classic Dracula, on the Soviet leader as recalled by his daughter, as well as his rigorously precise acting coach his mentor Fettes. The scenes also contained a parent-child dynamic within the narrative; a sore point for Hopkins, who further explains how his King Lear was subconsciously influenced by painful regret about Abigail, the daughter he was separated from from his initial marriage back in 1966 to Petronella Barker, who disliked him being away and his alcohol use.

The book's name comes from a vintage war-era photograph of Hopkins as a toddler playing on the sand with his father – the child who might have felt he would never do OK. He was a bewildered, lonely, vulnerable little boy raised in Port Talbot, the child of Richard Hopkins, the standout secondary character here: a bread-maker and a tough individual, a direct communicator who despised the sanctimonious churchgoers of the chapel and didn't believe in expressing his feelings, but also exhibited dreamy, sentimental tenderness. His father who was angered by the way they had to go begging to affluent family members like Auntie Patty, whose husband knew 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're all hoping for some pickings! Absolute nonsense, that's the truth!”

The humility worked, temporarily. He was a poor student in his new institution. Then, during in a literature class he needed to deliver the verse by John Masefield titled The West Wind – sight unseen – and that voice came to life; he shocked the educator and the other boys. He reasonably claims that verse, by itself, started his career. Combined with participating in the dramatic society at the YMCA. Notably, he graduated with low prospects, entered the acting world, and to the astonishment of his parents, was on stage with the great Olivier at the famous theater in just ten years. He accomplished it mostly independently, although in those days there were grants to go to Rada – an opportunity for actors from humble backgrounds. Richard Hopkins was continually impressed of Anthony's global success: upon requesting his son to deliver the Yorick lines from the play Hamlet, Hopkins Sr listened attentively and then went into another room and wept openly.

Concerning the volatile, stubborn individual, he departed the theatrical troupe in a moment of anger – causing Olivier's regret and criticism – but fortunately found a memorable TV character as a suspected war criminal in the show based on Uris's work, which paved the way to characters including in Lynch's The Elephant Man and a thriving starry career in cinema, which he preferred over theater. He gave up alcohol in 1975 after being a heavy drinker, and managed to live through midlife to execute great performances, including Lecter, the servant Stevens in The Remains of the Day with Emma Thompson and the senior with memory loss in his film The Father – his second Academy Award.

During the second part of the book he appears more reserved, more calculated. A few tales fall a bit flat. He remembers going out for lunch alongside his cast mate in Oliver Stone's Nixon, the esteemed thespian Paul, who wanted to tell him his portrayal of Nixon wasn't working. Was this the chance for Anthony to gain insight something from the legendary star of Scorsese's Goodfellas? Not exactly. 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 is one's responsibility to get there on time, learn everyone's name on set and proceed with the work. Indeed. However, he also describes facing a rude director who brought a background actor to tears: “Say sorry to her! And learn some manners. You ever do that again 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. An actor of his caliber is aware of the lines about Kent from Cornwall from the play Lear: “He does not know how to flatter! A straightforward and sincere nature – he is compelled to be honest!”

Hopkins concludes his book with a detailed supplement composed simply