Sir Anthony Hopkins recently discussed his iconic role as Hannibal Lecter in a BBC interview, providing insights into his acting process and the legacy of the character. The conversation, tied to the release of his autobiography ‘We Did OK, Kid,’ revealed how he crafted one of cinema’s most terrifying figures through subtlety and psychological depth.
Hopkins explained that his approach to playing Lecter was rooted in minimalism and stillness. He believed that less is more, choosing to ‘be still, be economic, don’t act or twitch around,’ which made the character more menacing. By maintaining intense eye contact and reducing unnecessary movements, he could unsettle both his co-stars and the audience, creating a sense of dread that has endured for over three decades. This method allowed him to portray the serial killer as calculating and intelligent, rather than overtly monstrous, and he emphasized that terrifying performances often come from understatement.
The actor shared a behind-the-scenes anecdote about the famous line, ‘I ate his liver with some fava beans and a nice Chianti,’ and the subsequent hiss. Hopkins revealed that the hiss was an improvisation inspired by Bela Lugosi’s performance as Count Dracula, a nod to classic horror that director Jonathan Demme decided to keep in the film. This spontaneous choice added to the character’s eerie persona and became a defining moment in the movie, often cited by fans and critics alike. He noted that such instincts stem from a lifetime of observing human behavior and cinematic history.
Reflecting on his understanding of human nature, Hopkins stated that he tapped into the duality within himself to portray Lecter. ‘I have the devil in me. We all have the devil in us, I know what scares people,’ he said, emphasizing that the character’s terror comes from recognizing shared human flaws rather than outright monstrosity. This psychological insight allowed him to deliver a performance that was both chilling and relatable, earning him an Academy Award for Best Actor. He connected this to his broader philosophy that acting requires embracing the complexities and contradictions of the human experience.
The interview also touched on Hopkins’ broader career and personal life, including his struggles with bullying and alcoholism. He credited these experiences with giving him a ‘core of anger, resentment, and revenge’ that fueled his acting, but also led to personal challenges, such as estrangement from his daughter. Despite this, he has found peace and continues to work, recently starring in films like ‘The Father’ and ‘One Life,’ where he played humanitarian Sir Nicholas Winton. His memoir delves into these themes, offering a candid look at his journey from a misunderstood child to an international star.
Hopkins discussed his early career, including his break in ‘The Lion in Winter’ where Katharine Hepburn advised him to ‘just speak the lines… Don’t act, just do it.’ This philosophy shaped his naturalistic style, contrasting with the more theatrical approaches of his time. He recalled feeling out of place in British theatre but found his footing in film, leading to a prolific career in Hollywood with roles in ‘The Remains of the Day’ and ‘Nixon.’ He attributes his success to luck and a willingness to simplify his craft, avoiding overcomplication in performances.
At 87, Hopkins remains active and philosophical about life, urging people to avoid hatred and polarization. He recited poetry and shared musings on the transient nature of existence, highlighting his deep cultural and artistic interests. The interview concluded with him playing the piano, a reminder of the multifaceted talent that has defined his legendary career, and he expressed gratitude for his long-lasting impact on cinema. Hopkins continues to engage with fans and projects, embodying a resilience that inspires both peers and audiences worldwide.