Ronny Sianturi
Steve Kroft, a decorated journalist whose three-decade tenure at the helm of "60 Minutes" cemented his legacy as one of broadcast journalism’s most enduring figures, has offered a candid and surprising perspective on his time with the iconic newsmagazine. In a recent appearance on Bill O’Reilly’s "We’ll Do It Live!" podcast, Kroft revealed that despite the prestige and impact of his work, he "hated" the demanding nature of the job, admitting that if given the chance to relive his career, he "probably wouldn’t." This revelation offers a stark counterpoint to the public perception of a dream assignment and sheds light on the immense pressures and personal sacrifices inherent in producing high-stakes investigative journalism for one of television’s most revered programs.
The Grueling Reality of a "60 Minutes" Correspondent
Kroft’s disillusionment stems from the relentless, all-consuming nature of his role as a "60 Minutes" correspondent. He described the job as a "24 hours a day" commitment, characterized by a constant cycle of travel, late-night work, and minimal sleep. The constant anticipation of breaking news, often signaled by beepers, meant that personal life was frequently placed on hold. "You may get a couple hours of bad sleep," Kroft explained, detailing the frenetic pace that involved "getting on jets, going here and there, the whole thing, then coming back and spending, you know, three or four days writing the script, and then going to the screenings and then getting on, starting it all over again." This perpetual motion and intense workload, he implied, took a significant personal toll, overshadowing the intellectual stimulation and potential for groundbreaking reporting.
The initial allure of "60 Minutes" for Kroft was undeniable. He recalled not being certain he would ever achieve such a coveted position, making its eventual attainment feel surreal. However, the reality of the sustained effort required to maintain that level of journalistic output quickly became apparent. The expectation was that the job would be prestigious, which it undoubtedly was, but the operational demands were far more arduous than perhaps initially anticipated. The need to constantly be on call, to chase stories across continents, and to meticulously craft narratives under tight deadlines created an environment that, for Kroft, ultimately proved more draining than fulfilling.
The "Snake Pit" of Broadcast Journalism Competition
Beyond the demanding schedule, Kroft also illuminated the often-unseen interpersonal dynamics within the competitive world of network television news. He recounted his initial optimism upon being selected for "60 Minutes," expecting congratulations and support from his peers. Instead, he encountered an unexpected undercurrent of envy and resentment. "I can remember when I was tapped to go to ’60 Minutes,’ I thought this was fantastic and I expected a lot of people would just come up and say, ‘That’s really great, I’m really happy for you,’" Kroft stated. "And then you realize after a while that not everybody was happy that I got this job. There were other people that wanted it. And so then you’ve all of a sudden made a bunch of enemies. And that’s, it’s just, you know, it’s a snake pit."
This observation points to the intensely competitive nature of high-profile journalism roles. The limited number of prestigious positions often fosters an environment where professional ambition can morph into personal rivalry. The realization that professional success could alienate colleagues, transforming potential allies into adversaries, likely added another layer of psychological burden to an already stressful profession. The term "snake pit" is a potent metaphor for a situation rife with hidden dangers, deceit, and backstabbing, suggesting that the internal politics at "60 Minutes" were as challenging to navigate as the external world of investigative reporting.
A Nostalgic Glance Back at the London Bureau
In contrast to his complicated feelings about "60 Minutes," Kroft expressed a distinct fondness for his earlier assignment as a correspondent in the London bureau for CBS. He described this period as his "best job," the one he "always wanted." The appeal, he explained, lay in the opportunity to "see the world," a sentiment that speaks to a more romanticized and perhaps less pressured vision of journalism. This period likely offered a broader scope for storytelling, international perspective, and a more balanced approach to work-life integration, allowing him to experience the richness of global cultures and events without the intense, singular focus demanded by a flagship newsmagazine.
The experience of being stationed abroad often provides journalists with a unique vantage point, allowing them to develop a more nuanced understanding of international affairs and human experiences. Kroft’s recollection suggests that this assignment offered him the kind of professional fulfillment that his later, more high-profile role, despite its accolades, ultimately failed to provide. It highlights a potential divergence between the perceived glamour of a national platform and the personal satisfaction derived from a different, perhaps more exploratory, form of reporting.
The Exhilarating Pursuit of Compelling Stories
Despite his overarching dissatisfaction with the "60 Minutes" role, Kroft did acknowledge moments of profound exhilaration. The thrill of uncovering significant stories and the satisfaction of working for a program that valued in-depth journalism were undeniable motivators. "It was exhilarating in the sense that the reason I loved the job was because of the stories that I could do, and the fact that they liked good stories," he admitted. This paradox—hating the job but loving the stories—underscores the complex relationship he had with his career. The intellectual challenge of investigative journalism, the opportunity to bring important issues to light, and the potential to influence public discourse were clearly powerful draws, even amidst the personal costs.
The ability of "60 Minutes" to dedicate significant resources and time to complex investigations allowed for a depth of reporting that is increasingly rare in today’s fast-paced media environment. This commitment to thoroughness and narrative depth is what attracted many journalists, including Kroft, to the program in the first place. The "good stories" he refers to were likely those that tackled significant societal issues, exposed corruption, or provided crucial insights into major events. The pursuit of these narratives, with the backing of a respected institution, offered a unique form of professional gratification.
A Career Marked by Landmark Interviews and Investigations
Kroft’s nearly three decades at "60 Minutes," which concluded with his retirement at age 73, were marked by a series of high-profile interviews and impactful investigative reports. He stands as the program’s longest-tenured correspondent, a testament to his dedication and skill. Among his most memorable interviews was the 1992 sit-down with Bill and Hillary Clinton, a conversation that became pivotal when Hillary Clinton famously invoked Tammy Wynette’s song "Stand by Your Man" amidst allegations of marital infidelity against then-candidate Bill Clinton. Kroft recalled the interview’s initial awkwardness due to the sensitive subject matter but recognized its significance as the Clintons became more engaged. "When she made the Tammy Wynette remark, I knew we were home free," he told The Hollywood Reporter in 2019, underscoring the interview’s dramatic arc and eventual success in capturing a moment of national attention.
His extensive resume also includes notable interviews with figures such as Woody Allen, Clint Eastwood, and President Barack Obama, with whom he conducted a remarkable 16 interviews, including one following the 2011 assassination of Osama bin Laden. Beyond interviews, Kroft led significant investigations, including probing Saddam Hussein’s hidden financial assets and uncovering insider trading within Congress. These investigations required meticulous research, extensive fact-checking, and the ability to navigate complex political and financial landscapes.
The story that resonated most deeply with Kroft was his 2001 report on Sandler O’Neill & Partners, a financial firm that lost a third of its employees in the September 11th World Trade Center attacks. He detailed the resilience of the surviving partner, Jimmy Dunne, and the firm’s employees as they navigated the immediate aftermath of the tragedy. "In the days following the disaster, the surviving partner, Jimmy Dunne, allowed us to follow him and other managers as they planned the funerals, comforted and counseled the families, and against impossible odds, kept the company running during the worst days," Kroft explained. "It survived and is thriving today." This report exemplifies the human-interest aspect of "60 Minutes," showcasing the power of journalism to document not only events but also the profound impact on individuals and communities, highlighting themes of loss, resilience, and perseverance.
The Perfectionist’s Mark on the Editorial Process
Kroft’s reputation as a meticulous journalist was also evident in his self-assessment of his working relationship with producers. When asked how they would describe him, he offered a frank assessment: "I think if you asked them during the scripting process the answer would be unprintable. When the story is finished and screened, they would be more complimentary. I’m not easy." This candid admission suggests a demanding editorial process, where Kroft’s high standards and commitment to accuracy likely led to intense collaboration and debate. The implication is that while his perfectionism could be challenging during the creation phase, it ultimately contributed to the polished and impactful final product that "60 Minutes" was known for. This aligns with the understanding that producing broadcast journalism of such caliber requires a constant push for excellence, often involving rigorous debate and refinement.
A Return to the Spotlight and Concerns for Journalism’s Future
More recently, Kroft re-entered the public discourse over the summer, joining Jon Stewart on "The Daily Show" to discuss Paramount’s controversial $16 million settlement with President Trump. The settlement stemmed from "60 Minutes’" editing of an interview with Trump’s opponent in the 2024 presidential election, former Vice President Kamala Harris. Kroft did not mince words in his condemnation of the deal, labeling it a "shakedown." His willingness to speak out on such a politically charged issue highlights his continued engagement with the principles of journalistic integrity.
When asked about the atmosphere at "60 Minutes" in the wake of the settlement, Kroft echoed Stewart’s sentiment that the situation was likely "devastating to the people who work in a place that prides themselves on contextual, good journalism." He expressed concern for the current state of the program and the broader media landscape, stating, "I think there’s a lot of fear over there. Fear of losing their job, fear of what’s happening to the country, fear of losing the First Amendment, all of those things." This statement reflects a deep-seated anxiety about the pressures facing journalists today, including economic instability, political interference, and the erosion of fundamental democratic rights. Kroft’s words serve as a poignant reminder of the vital role journalism plays in a healthy society and the challenges it faces in an era of increasing polarization and misinformation. His reflections on his own career, from the grueling demands of "60 Minutes" to the broader concerns for the future of the profession, offer a valuable, albeit somber, perspective on the evolution of broadcast journalism.
