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Many consider it the most memorable appearance in cinematic history – and he remains utterly motionless.

The FBI trainee, just starting out, must walk a row of prison cells until she reaches Dr. Lecter's reinforced glass enclosure. The man is present, appearing as an animated death's head filled with sinister intent, chillingly static in his form-fitting blue prison jumpsuit. He remains motionless until the moment he throws himself toward the window, making that unforgettable spitting-growling noise. Numerous real-crime films have since shown that actual serial killers tend to be quite dull, with nothing resembling the actor's captivating film persona.

He was not a newcomer when he landed that Oscar-winning role in the 1991 thriller in 1989: it wasn't his debut, instead, a superstar was forged. His Dr. Lecter was inspired, Hopkins cheerfully recalls in this new autobiography, on the classic Dracula, on Joseph Stalin according to his daughter's memories, as well as his icily exacting Rada tutor Christopher Fettes. The scenes also contained a father-daughter dimension to these scenes; a difficult topic for Anthony, who also describes how his King Lear was subconsciously influenced by an agonised guilt concerning Abigail, his distant daughter from his initial marriage during the 60s with Petronella Barker, who was angered by his absences and his alcohol use.

The memoir's title is derived from an historical picture of a young Hopkins with his father at the seaside – the child who might have felt he would never do OK. He felt confused, shy and fragile youth from Port Talbot, son of Richard Arthur Hopkins, the memorable figure in the narrative: a bread-maker and man's man, a direct communicator who detested the sanctimonious churchgoers in their community and didn't believe in displaying emotion, yet possessed a touch of wistful, tearful romanticism. It was Hopkins Sr who was angered by the way they had to go humbly to their wealthy relations such as Aunt Patty, whose spouse was acquainted with the famous Bevan and could get Anthony as a boy into a prestigious academy: “Since they are extremely wealthy!” he exclaims while traveling there. “We're all hoping for some pickings! Total garbage, that's all it is!”

The humility worked, temporarily. Hopkins was a hopeless student at the prestigious school. But one day during an English class he was required to perform John Masefield's poem known as The West Wind – without seeing it first – and his talent emerged; he stunned the teacher and the other students. He reasonably claims that poems, alone, launched him. Combined with participating in the dramatic society at the YMCA. Surprisingly, he exited school a no-hoper, went into acting, and to the astonishment of his parents, was performing with the great Olivier at the renowned Old Vic in under a decade. He largely achieved it alone, though at that time scholarships existed for drama school – a path to success for working-class actors. His dad remained in awe by his son's international fame: on asking his son to deliver the Yorick lines from Hamlet, Hopkins Sr listened attentively and then went into another room and burst into tears.

Concerning the volatile, bloody-minded son, he departed the theatrical troupe out of frustration – causing Olivier's regret and disapproval – but lucked into a memorable TV character as a potential war criminal in the show based on Uris's work, which eventually resulted to roles such as in the film The Elephant Man and a successful acting career in cinema, which he preferred compared to stage acting. And he quit booze during the mid-70s having been a hell-raising alcoholic, and managed to live into middle age to execute great performances, including Lecter, the servant Stevens in The Remains of the Day featuring Emma Thompson and the senior with memory loss in his film The Father – his second Oscar.

During the second part of the memoir he appears more reserved, more studied. A few tales aren't entirely successful. He recalls going out for lunch with his fellow actor in Stone's Nixon, the much-respected actor Paul, who sought to advise him his performance as Nixon was falling short. Was this the moment for him to absorb something from the legendary star from Goodfellas? Hardly. Anthony appears to agree with Stone's dismissal that Sorvino was acting by jealousy. Is that so?

He repeatedly performs the no-nonsense, practical performer who thinks it is one's responsibility to arrive punctually, remember every crew member's name and proceed with the work. Quite so. However, he also describes standing up to an unpleasant filmmaker who caused a young extra to weep: “Apologise to her! And acquire some decency. You ever do that again near me, I'll alter your appearance!” Anthony comes across as someone who gave up drink yet perhaps not the aggression that went with it. An actor of his caliber must know Cornwall's lines on Kent in King Lear: “He is incapable of flattery! An honest mind and plain – he is compelled to be honest!”

He finishes his autobiography with an extensive addendum composed simply