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The world reacts very strangely to people they see on TV, and I can begin to understand how anchor monsters are made. If you're not careful, you can become used to being treated as though you're special and begin to expect it. For a reporter, that's the kiss of death.

Hopefully, any character I play has an anchor in reality.

Being an anchor is not just a matter of sitting in front of a camera and looking pretty.

Cast your cares on God; that anchor holds.

The real test of an anchor is when there's a very big event. Sept. 11 is the quintessential example of that, and that day it took everything that I knew as an anchor, as a citizen, as a father, as a husband, to get through it.

Monsters almost always are culture's way of working out their fears and are thus inherently incredibly interesting and powerful.

The anchors now made are contrived so as to sink into the ground as soon as they reach it, and to hold a great strain before they can be loosened or dislodged from their station.

I've always been interested in this idea of looking at these monster stories and trying to really understand the mechanics underneath. That's very much true of this movie I made, 'All Good Things,' as well as 'Catfish,' which I produced.

If you battle monsters, you don't always become a monster. But you aren't entirely human anymore, either.

I think I'd like to stay anchoring because, number one, I'm learning a lot, and I love it when I'm learning. And number two, I also have the luxury of a stable life.