Q3 2022

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By Rob Feld T hrough 14 seasons of "NCIS: Los An- geles," editor Robert Florio recently reached the 100-episode milestone. It may be broadcast television, but how he got here sounds like a Paul Thomas Ander- son movie about 1970s Los Angeles. Florio arrived in Los Angeles from New York in time to finish the last six months of high school at Hollywood High in 1972. He had his heart set on being a sound engineer for A&M Records and through a friend got a meeting with a vice president, but was told they would only hire people with a college education. Deflated, Florio took a job as a busboy at a restaurant on La Brea Avenue, Club Etcetera. Florio's uncle was associate producing independent productions and asked him if he would like to be a gofer. F l o r i o go t co f fe e a n d t h e l i ke u n t i l post-production began, and then he moved on to work in the edit room with Douglas Hines, who was an editor on "The Mary Tyler Moore Show." He took Florio under his wing and taught him how to be an assistant. Florio next took a job with a company doing sound work, Aquarius Films, where he did work for producer Matt Cimber, who was doing independent, low-budget, Black exploitation films (he was also Jayne Mansf ield's last husband). Eventually, Cimber asked if Florio wanted to edit one of The "NCIS: LOS ANGELES" team in the OPS center discussing a case. Pictured (L-R): Miguel Ferrer (NCIS Assistant Director Owen Granger). Daniela Ruah (Special Agent Kensi Blye), Eric Christian Olsen (LAPD Liaison Marty Deeks), Renne Felice Smith (Intelligence Analyst Nell Jones), Chris O'Donnell (Special Agent G. Callen), Linda Hunt (Henrietta "Hetty" Lange), LL COOL J (Special Agent Sam Hanna), Barrett Foa (Tech Operator Eric Beale). P H O T O : C L I F F L I P S O N / C B S 'With technology, if you don't move forward, you'll be left behind.' 39 S U M M E R Q 3 I S S U E F E A T U R E

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