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 Homebush, 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.