I got my first break in the business working on staff at Mel London’s production company. In between shooting, I was assigned to the editing department, run by the legendary Irv Oshman. They had just purchased a KEM, the flatbed film editing machine the size of a large dining room table, with internal electro-mechanical timing belts, prisms and sprockets that could only have been built by former cuckoo-clock manufacturers. Irv was a brilliant editor, but loved his coffee. Unfortunately for me, he often spilled much of the coffee into the KEM, and one of my added assignments was an almost daily cleaning of its innards.