“It’s fun to move forward in life and think, Don’t look back, because there’s a big, gaping abyss behind you, and it’s called death.” An interview with Anthony Hopkins.
Peter O’Toole
It started with Mark Wahlberg. I was working in Oxford on the Michael Bay film [“Transformers: The Last Knight”], and he said, “I want you to go on Twitter to tweet.” I didn’t know what he was talking about. I’m a bit dopey about that. So I did a message, and that’s how it started. My wife has encouraged me to do it, especially in these dire times. I mean, millions upon millions of people cannot move out of their environment. So I try to send cheerful messages.
The script is so clever about thrusting the audience into these moments when the father doesn’t know where he is or who he’s talking to. There’s a devastating scene toward the beginning when the daughter, who was played by Olivia Colman in the first scene, suddenly reënters the apartment and is played by a different actress, Olivia Williams, and you see the certainty drain from the father’s face.
I was given advice about that by two brilliant men, John Dexter, the great director, and Laurence Olivier. So there’s name-dropping for you. Olivier said, “Just keep it simple.” I was directed by Olivier twice. And, as I said, with Christopher Hampton, who adapted Florian’s play for the screenplay, it is a road map. Florian told me when we met, “The [character’s] name is Anthony.” He said he wrote it for me. And he put my actual birth date in.
So much of this movie is about the Olivia Colman character and the difficulty that she has caring for an older parent. Is that something that rang true to you as a son? Well, I can’t run now. My knees ache! When I was doing “Silence of the Lambs” I was in great shape. But I still am at eighty. I don’t smoke. I don’t drink. Working on “The Lion in Winter,” Katharine Hepburn said to me, “Always look after your health. Without that, you’re gone.” It took me a few years to get it in through my thick skull, but I thought, Well, I’ve got one life.
One of your early breaks was when you were Olivier’s understudy, in 1967, in Strindberg’s “The Dance of Death,” and you went on for Olivier. This sounds like some kind of actor fairy tale that couldn’t possibly be real. What happened? I think I dragged up from my past, from my schoolboy years, that I wasn’t bright enough to do anything. I had a kind of ruffian instinct about acting, but I wasn’t educated and I didn’t have the confidence. People said I was a Shakespearean actor. Well, I did the Scottish play, as they say, and I didn’t feel like I fitted in. I was impatient with directors, because, if you have doubts about yourself, somebody will pick up on it and they’ll attack you. They’ll see it as a weakness.
I used to drink with all the old actors, because that’s what you did in those days. I went into the Salisbury Pub in London about fifteen years ago, where I used to drink, and I just stood in the doorway. And the barman said, “Hello, there! You’re Anthony Hopkins! Come in and drink!” I said, “I’ll have a tonic water.” And I looked at all the brass, a beautiful pub of all Victorian design. And he said, “Did you use to come here? All the famous actors would come in.
Oh, I don’t know. When you have a 99.99-per-cent-perfect screenplay, you don’t have to do anything. “The Remains of the Day,” “The Silence of the Lambs,” “The Father.” They’re pretty nigh perfect. When you learn that language you pack that into the suitcase of your brain, and those words inform your body. They move you around the set. I suppose it’s like playing the piano.
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