This CSS code defines a custom font family called “Guardian Headline Full” with multiple font weights and styles. It specifies the font files in different formats (WOFF2, WOFF, and TrueType) and their respective URLs for the browser to load. The font weights range from light (300) to semibold (600), each with normal and italic styles.This CSS code defines several font families and styles for the Guardian website. It specifies the sources for different font files in WOFF2, WOFF, and TrueType formats, along with their weights and styles. For instance, the Guardian Headline Full font includes bold, bold italic, black, and black italic variants, while the Guardian Titlepiece uses a bold style.
The code also includes media queries that control the opacity of the main content, making it fade in when scripting is enabled and when reduced motion is not preferred. Additionally, it sets various CSS custom properties (variables) for colors and styles used throughout the site, such as overlay fades, captions, and text colors.
For article elements, it defines styles for headlines, specifying font family, weight, size, and line height, with adjustments for larger screens. Some elements, like specific spans in the title, are hidden from display.For article titles, the link or series name appears inline with a specific color, using the Guardian Headline font at 20px size and bold weight, with custom underlining and 115% line height. Hovering over the title link underlines it.
Interviewee names are styled in a light, italic, 28px font with the same line height.
The article summary and its links use a medium color, 17px font at 500 weight, increasing to 20px on wider screens. Links in the summary get a bottom border on hover.
Captions and video transcript links are in a smaller, sans-serif font at 12px with 130% line height.
Byline links use the Guardian Headline font at 17px and bold, while byline buttons have a medium-weight sans-serif font. The publication date uses a caption color.
Scrolly quotes feature a light-colored, 32px headline font (increasing to 42px on large screens) with special number styling, and their captions are in a 14px sans-serif. On medium screens, these adopt media text colors.
The first letter of the main content is a large, colored drop cap using the headline font.
Media sections have a full-viewport height background, extending slightly beyond the container with negative margins, and use a grid layout. On mobile, the title is placed in the furniture area, while on desktop, it shifts to a two-column grid with the media container taking up most of the space.
For wider screens, the media section has a fixed width and adds colored sidebars with borders to fill the viewport, creating a framed appearance.The media element has a solid border and is positioned to the right, with its width calculated based on the viewport and body width. For larger screens, the body width adjusts at specific breakpoints: 978px for 61.25em, 1138px for 71.25em, and 1298px for 81.25em.
The article’s content grid layout changes with screen size. On smaller screens, it stacks media, meta, standfirst, and body vertically. On medium screens (61.25em and up), it uses a two-column layout with media spanning both columns and other elements arranged accordingly. For larger screens (71.25em and 81.25em), it adds more columns and refines the grid areas for better organization.
Standfirst has a top margin, and lines are hidden. Captions for headers and videos include icons with specific styling and spacing. The “Listen to Article” button has vertical margins.
The header is positioned relatively with a high z-index. On iOS, certain pseudo-elements in media headers are hidden. When scripting is disabled, the layout adapts to a simpler, stacked structure across different screen sizes.
A screen-reader-only class hides content visually but keeps it accessible to assistive technologies.For interactive content in the main column, supporting figures are set to 75% width and do not clear previous elements.
On medium screens (46.25em and wider), these figures remain at 75% width, positioned statically without floating, and have standard line height with no top margin.
For larger screens (71.25em and up), the figures have no left margin, and their captions are positioned statically without a fixed width.
On extra-large screens (81.25em and above), the figures keep their 75% width with no left margin, and captions have no maximum width restriction.
On medium to large screens (46.25em to 61.24em), immersive elements in the main column have a negative right margin of 20px.
For static and video headers, headline containers and interviewee sections have 10px side padding on small screens, increasing to 20px on screens 30em and wider.
The media container in these headers takes up the full width and height of its grid area. On 61.25em and larger screens, it maintains a 4:5 aspect ratio.
Image wrappers within the media container stick to the top and fill the available space with hidden overflow. On larger screens (61.25em+), they switch to relative positioning.
All images and pictures inside these wrappers cover their containers completely without distorting the aspect ratio.
Additional elements like spans and links following pictures are hidden.
A secondary image layer (img-2) is absolutely positioned at the top-left corner.
Mobile furniture wrappers stick to the bottom and have a flexible column layout with a background color. On larger screens (61.25em+), they become part of the normal content flow.
Within these wrappers, titles appear second and interviewee information third in the order.
On smaller screens (up to 61.24em), a gradient overlay creates a fade effect above the mobile furniture.
Headline containers in static and video headers are positioned at the bottom with padding, background color, and a z-index of 2. They use a grid layout for headlines.
Both primary and secondary headlines occupy the same grid area within the container.For screens wider than 61.25em, adjust the headline container in static and video headers by removing the top margin, setting a maximum width of 540px, and adding a top border.
On smaller screens up to 61.24em, align the first headline to the start. The second headline should have a maximum width of 620px, with its first letter capitalized. On screens at least 30em wide, shift it 20px to the left, and on those 61.25em or wider, position it 4px from the top.
When reduced motion is preferred, display the headline container as a block and remove top margins for headlines on screens up to 46.24em wide. Also, add 10px padding to the top of the second headline.
The interviewee section should be placed in the ‘interviewee’ grid area with 20px bottom padding. Video controls are fixed at the bottom.
On screens up to 46.24em wide, set the header height to 100%. For iOS devices, adjust grid rows and interviewee padding to account for the bottom toolbar. On Android, modify grid rows and padding for the top bar.
In landscape orientation on screens up to 700px wide, make the header height fit its content and adjust media container and wrapper accordingly.
For apps, hide labels in image wrappers.
Video containers should fill their space with videos covering the area and fading in when active. Controls are positioned at the bottom right with circular buttons.
For media elements on wider screens, set the video container’s aspect ratio to 4/5.
Scrolly quotes take up the full viewport height with a sticky media container that holds absolute-positioned items.The image in the scrolly-quote section is set to cover its container fully, maintaining aspect ratio. The quote container is positioned to stick at the top of the viewport and spans the full width, with its items featuring a semi-transparent background and flexible layout for quotes and captions. On larger screens, the background becomes transparent, and the layout shifts to a two-column grid.
The scrolly-quote component adjusts its width and margins responsively, expanding on medium screens and centering with side backgrounds on larger displays. Its height is calculated based on viewport units and content length, with reduced motion preferences shortening it. For iOS devices, specific viewport units are used to ensure proper sizing.
Interactive elements like figures and blockquotes in the main column have smooth entrance animations, fading and sliding into view. In dark mode, color variables are adjusted for better contrast and readability, altering shades for media, bylines, and quotes to suit the theme.The text appears to be a mix of CSS code and an article about Anthony Hopkins. Here is the rewritten article portion in fluent, natural English:
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View image in fullscreen
Anthony Hopkins in 2017. Photograph: Sebastien Micke/Paris Match/Contour/Getty Images
“What’s the weather like over there?” Anthony Hopkins asks as soon as our video call begins. Though he has lived in California for decades, traces of his Welsh roots remain—in his distinct, melodious voice, now perhaps a bit raspier, and his interest in the weather. It’s a dark evening in London, but a bright, sunny morning in Los Angeles. Hopkins matches the mood, looking cheerful and wearing a turquoise and green shirt.
“I came here 50 years ago,” he says. “Someone asked, ‘Are you selling out?’ I said, ‘No, I just like the climate and getting a suntan.’ But I do like Los Angeles. I’ve had a great life here.”
Still, things haven’t been entirely great lately. In January, wildfires destroyed Hopkins’ home in Pacific Palisades. “It was a bit of a calamity,” he remarks with cheerful understatement. “We’re thankful no one was hurt, and we got our cats and our little family to safety.” He and his wife, Stella, were in Saudi Arabia at the time, where he was hosting a concert of his own music performed by the Royal Philharmonic Orchestra. They’re now staying in a rented house in nearby Brentwood.
“We lost everything,” he says, “but you think, ‘Oh well, at least we’re alive.’ I feel sorry for the thousands of people who have been truly affected—people well past retirement age who worked hard all their lives and now have nothing.”
Hopkins turns 88 this December, but he clearly doesn’t see himself as past retirement age. As a two-time Oscar winner, a knight, a pop culture icon, and one of the most respected actors alive, he has plenty of achievements to rest on—yet his schedule remains full. He recently finished a film with Guy Ritchie, whom he admires for his precision, and will soon return to Britain to work with Richard Eyre on The Housekeeper, a film about Daphne du Maurier, followed by another project in Wales.
He’s also keeping up with the times. In a recent Instagram video, he tried on one of Kim Kardashian’s much-mocked Skims face wraps and channeled Hannibal Lecter. “Hello, Kim. I’m already feeling 10 years younger,” he told the camera, mimicking Lecter’s sinister slurp. “Fun, wasn’t it?” he says with a laugh, adding that Kardashian found it hilarious.
But lately, Hopkins has also been reflecting on his life. His new memoir…
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Note: The CSS code at the beginning was not rewritten, as it is technical styling information and not part of the article’s narrative.“We all possess that inner strength, and we shape our lives by following what I suppose you’d call inspiration,” Hopkins reflects. By then, he was increasingly based in the US and focusing on film. “I simply wanted some sunshine and to avoid spending my life standing around in wrinkled tights holding a spear,” he quips.
It was his idol, Peter O’Toole, who first invited him onto a movie set in 1968. Hopkins recalls O’Toole knocking on his dressing room door at the National Theatre one day and saying, “I want you to do a screen test for me.” Hopkins adds, “He’d had a few drinks, and we went to the pub afterward.”
Hopkins acknowledges Laurence Olivier for giving him a major break in his career. “He seemed to appreciate my physical strength, and I had that Welsh intensity—quick-tempered, you know.”
Reflecting on his journey, Hopkins says, “I often wonder, ‘How did I get here?’ I have no idea how my life transformed from being a lost little boy in Port Talbot to this. It’s beyond my understanding, and I mean that sincerely.”
The screen test was for The Lion in Winter, starring O’Toole and Katharine Hepburn. Playing Richard the Lionheart, Hopkins felt comfortable on screen. “I think that anger or whatever it was inside me gave me a strong presence. And I was clever; I could take advice. Hepburn told me, ‘You don’t really need to act. You have a good head, good shoulders. Just speak the lines.'”
By the 1980s, he had established a steady career as a character actor, which was completely transformed by The Silence of the Lambs in 1991. Director Jonathan Demme had seen Hopkins in David Lynch’s The Elephant Man, where he played a gentle Victorian doctor, and thought he’d be ideal for Hannibal Lecter—the psychiatrist turned cannibal serial killer. When his agent mentioned the title, Hopkins asked, “Is it a children’s film?”
Discussing his iconic role, it’s evident how much Hopkins contributed personally. He instinctively understood how to portray Lecter not as a monster but as serene, precise, and unblinking—”at once distant and alert.” He drew inspiration from HAL in Kubrick’s 2001, Bela Lugosi’s Dracula, Katharine Hepburn, his old drama teacher at RADA, and a touch of camp. The result was a unique character, a new archetype in horror.
For the film, Hopkins insisted on a specific look for Lecter. “They wanted me in an orange jumpsuit, but I said no—I wanted a slim green suit. Lecter could have anyone make it because he’s so clever and would kill if disobeyed.” He carefully planned his first scene with Jodie Foster, where she visits his cell. “Jonathan Demme asked how I wanted to be discovered. I said standing, because I could smell her coming down the corridor. He called me weird.”
Foster was also unsettled by him, admitting she avoided him on set as much as possible. On the last day, they had lunch, and she confessed she was scared of him. “I was scared of you, too!” he replied.
The Silence of the Lambs had such a cultural impact that at the 1992 Oscars, host Billy Crystal was wheeled on stage strapped to a gurney wearing a Lecter mask. Hopkins still didn’t believe he’d win Best Actor, though the film took home five Oscars, including his. He was in his mid-50s at the time.Suddenly, he was in the A-league and in high demand, with some of his best and most profitable work still to come. He embraced it fully—starring in big-budget epics, action thrillers, horror sequels (reprising his role as Lecter twice more), period dramas, and even the occasional role for the paycheck, like in Transformers: The Last Knight.
He has portrayed a gallery of great men: Richard Nixon, Alfred Hitchcock, Pope Benedict, Sigmund Freud, Charles Dickens, Pablo Picasso, King Herod, King Lear, Methuselah, and even the Norse god Odin in Marvel’s Thor movies.
Yet, he may be at his finest when playing less illustrious characters. His standout performance as the repressed butler in Merchant Ivory’s The Remains of the Day is a prime example—a man tragically unable to connect with those around him, especially the housekeeper played by Emma Thompson. It’s another meticulously restrained character in the vein of Lecter, which speaks volumes about the British class system. “James Ivory is one of those special directors,” Hopkins says, “because he lets you figure it out. He doesn’t direct, but he has an artist’s eye. He understands design. Everything was so perfectly arranged, you didn’t have to act.”
Hopkins won his second Oscar in 2021 for playing another relative nobody—an old man losing his grip on reality due to dementia in Florian Zeller’s The Father. The ceremony was one of the most awkward in history, delayed and scaled back due to the Covid pandemic and overshadowed by the recent death of Chadwick Boseman, who was widely expected to win Best Actor. In a surprise twist, the Oscar went to Hopkins instead.
Hopkins wasn’t there to accept the award; he wasn’t even watching. “I was asleep!” he says. “I certainly did not expect it. God, where was I? I was in England, yes.” He had an early shoot the next morning. “So I didn’t show up and went to bed. At four in the morning, my agent called: ‘You got the Oscar!’ I said, ‘What?’ It was a wonderful surprise, but the film itself was one of the easiest. I thought, ‘Well, I don’t have to act old. I am old.’”
Despite being a Hollywood fixture for so long and a recent Instagram star, Hopkins has no interest in celebrity. “I’ve never been one for the glamour side, the red carpet. I go along if I have to do one of those premiere things, and they’re pleasant and friendly, but I’d rather be at home playing the piano or reading a book,” he says. “Publicity is a necessary part of my professional life, but I don’t crave it.” His social circle is small, consisting of a few close friends and his third wife and her family. He met Stella Arroyave in 2000 when she ran an antiques shop in Pacific Palisades, and they married in 2003. “She broke me wide open, helped me overcome old feelings of regret and anxiety in a way that set me free,” he writes of her in his book.
Even now, discussing his life, it’s clear this isn’t Hopkins’ comfort zone. He is polite but guarded, preferring to share anecdotes rather than opinions. There are parts of his life he’s reluctant to discuss, such as his estranged daughter. (He doesn’t dwell on it. “If you want to waste your life being resentful… fine, go ahead. That’s not in my camp,” he said in a recent interview.) His memoir also mentions his second marriage to Jennifer Lynton, which lasted nearly 30 years, noting, “It was only years later that she knew about my infidelities,” but he doesn’t elaborate further.In 1969, when she was a production assistant, she picked him up from Heathrow after he missed a flight due to his drinking, and they married in 1973. He says she supported him through the worst of his alcoholism, but she always preferred London to LA, and they gradually grew apart. “She deserved better than me,” he writes with regret.
He is also hesitant to speak directly about politics or current affairs—he became an American citizen in 2000—though he sometimes addresses them indirectly through his roles. For instance, when asked about his repeated references in the book to having “a monster inside me,” he mentions Nicholas Winton, the real-life hero he portrayed in 2023’s One Life, who saved over 600 children from the Nazis in Eastern Europe and brought them to Britain.
With Emma Thompson in The Remains of the Day. Photograph: AJ Pics/Alamy
“His only belief was that we must learn to be flexible, reasonable, and listen to others, even if we disagree,” says Hopkins. “And stop being certain. Once you’re certain, no one can reach you. That’s deadly. It causes horrific problems in the world when you think you have the answer and nobody else does. We’re living it today: you’re wrong, I’m right; if you differ from me, I’ll have you killed, cancelled, or unfollowed. What are we talking about? It’s rubbish. Changing language to suit our own preconceived bigotry because someone disagrees with us politically, philosophically, or racially. What are we doing? We’re human beings, fragile animals.”
Hopkins’ reticence isn’t calculated or strategic; it’s just who he is and likely always has been. Reflecting on the photo of himself at age four on the back cover of his book, he says, “I still feel like that young kid.” At that age, he was “too young to comprehend any meaning in existence,” he writes. So, as he nears his tenth decade, has Hopkins reached any conclusions?
“No. I know nothing,” he says, laughing. “I don’t think we know anything. I look around and think, ‘How did I get this far?’ I have no idea how my life moved from being a little boy lost in Port Talbot to here. It’s beyond my comprehension, and I mean that deeply.”
However, he recalls the desire he had from a young age: to succeed and prove to his parents and the world that he wasn’t “a complete dummy.” “I try to tell younger people, if they’ll listen: believe that you have a power inside. You can do almost anything. Tap into that trigger moment that pushes you forward. Never give in. If you fall, get up again. Don’t feel sorry for yourself, never be a victim, and just get on with it. It’s a tough philosophy, but I think some of my younger friends have taken that advice.”
Does he still have that desire to show the world?
“Yes, I keep working,” he says. “They offer me work, I do it, and I enjoy it. I go over my script repeatedly so that by the time I’m there, I know it all, which inspires confidence in those around me. You better show up and know your stuff, or you’ll get left behind. I suppose the message is, live life as if it’s your last day.”
That’s exactly what he’s doing. “Now, at my age, I’ve accepted everything. I have no guarantees. I wake up in the morning and say, ‘I’m still here. I’m strong, I’m fit, and a lot of my friends have gone.’ I look at my life and think, Oh God, I’m so—and I mean this, really—I’m so lucky. I was going to use the expletive, but I won’t.”
It’s the Guardian, I say, you’re allowed to swear.
“Fucking lucky!” he says. We Did OK, Kid by Anthony Hopkins.The Guardian’s new issue is available. You can purchase a copy for £21.25 at guardianbookshop.com to show your support. Please note that delivery fees may be added.
Frequently Asked Questions
Of course Here is a list of FAQs about Anthony Hopkinss reflections on his life career and sobriety designed to be clear concise and natural
General Beginner Questions
1 What is Anthony Hopkins talking about when he says my struggle was over
Hes referring to the moment he finally accepted he was an alcoholic and decided to seek help and get sober which ended his internal battle with addiction
2 How long has Anthony Hopkins been sober
He has been sober for over five decades which is more than 50 years
3 What was Anthony Hopkins like before he got sober
He has described himself as being very angry discontent and selfdestructive which negatively affected his early career and personal life
4 Did his alcoholism affect his acting career
Yes in his early days his drinking made him unreliable and difficult to work with Getting sober allowed him to focus and build the legendary career he has today
5 How many Academy Awards has he won
He has won two Academy Awards Both were for Best Actor one for The Silence of the Lambs and one for The Father
Deeper Advanced Questions
6 What was the turning point that made him decide to get sober
The key moment came in 1975 when he woke up in an Arizona hotel room after a night of heavy drinking and simply realized he was headed for disaster death or jail if he continued He describes it as a moment of clear calm acceptance
7 How does he connect his past anger to his alcoholism
He saw his anger and alcoholism as intertwined The drinking was both a cause and a symptom of his inner turmoil and selfhatred Sobriety gave him the tools to manage his anger
8 What does he say is the key to maintaining such longterm sobriety
He often credits taking it one day at a time and the support of communities like Alcoholics Anonymous He emphasizes the importance of not dwelling on the past but living in the present
9 Has he spoken about how sobriety changed his approach to acting
Yes he has said that sobriety gave him discipline and the ability to be fully present He is known for being prepared professional and focused on set
