Which episodes were the best to do?
It’s a funny thing, because a lot of times on the floor you think something’s going to be weak, or it isn’t satisfying, they turn out remarkable. In the cut, in the manipulation of the edit.
The first four episodes are profound. I hit the floor running, the excitement on set when I was there was just remarkable. I could feel the excitement. Rowan Woods, who was the first director I worked with, I could hear him cheering and clapping on the monitors.
I’ve never had anything quite as in-your-face as that, as a slap on the back or "you’re doing well Wayne". So those four episodes were overwhelming from a performer’s point of view. And Ben was so generous, he let me hurt him, let me play, let me win.
A lot of the Harvey stuff I do really love. I love the World War One sequence, with the bombs going off. There’s so many moments. I loved playing the drums, that was pretty cheeky. They’re frivolous things, that’s Wayne, I had a bit of fun. Whether the episodes were [good] or not, [I don’t know]. I don’t see a lot of the work. I’m getting the DVDs this year, for the first time.
We work in Βι¶ΉΤΌΕΔbush, a long way from the city, where I live, and on Friday nights, once a fortnight, they’ll have a screening. And Friday night, what do you want to do, hang around for another three hours or go home? Go home, get clean, go down to the icebergs, have a beer, whatever. I go home. I don’t watch rushes, I don’t watch a lot of my work, I never have done. I work internally. Is it handy to see rushes sometimes? Absolutely.
I always love to see the other people’s work, the other guys’ work. Because I really worked in isolation for three years, me and Ben. Which was great, it was a wonderful relationship. We had a chemistry going on. It’s wonderful to see other people’s work.
