"The HFPA Has Always Been Looking to Diversify the Spotlight"

Born in Argentina in 1962, Gabriel Lerman has been interviewing movie stars for more than 30 years. He is the Los Angeles correspondent for many outlets from Spain and Latin America, including the daily La Vanguardia from Barcelona, the magazines Dirigido Por and Ethic from Spain, Estilo from Honduras, and Acción from Argentina. He also regularly interviews directors and actors from Latin America and Spain for the website GoldenGlobes.com. From 1991 until 2008 he was the Entertainment Editor of the weeklies Mundo LA and La Guia from Los Angeles. For many years he was the correspondent in this city for many important newspapers like La Nación, Página 12, and La Capital from Argentina, El País from Uruguay, Últimas Noticias and La Epoca from Chile, El Nuevo Herald from Miami, and Hoy from New York. Since 2004 he has been a member of the Hollywood Foreign Press Association (HFPA), where he is now serving on the Board of Directors. He was nominated in 1998 by the Publicist Guild of America for the International Media Award and received 12 awards from the National Association of Hispanic Publications. Prior to moving to the United States, in 1989, Lerman contributed in Argentina to the dailies Clarín and Sur. In Argentina, Lerman published two books of interviews and a book for children. His unpublished novel, Los habitantes del espejo, was awarded a second prize by Adolfo Bioy Casares in the First Bienal de Arte Joven in 1989. Lerman lives in Los Angeles with his wife and his younger son.

Gabriel Lerman

You’ve met with some big names in the entertainment industry – from Julianne Moore to Matt Damon and even Lady Gaga. What tips do you like to keep in mind before meeting with or interviewing celebrities?

That they are tired of hearing the same questions again and again and, on the other hand, they have a rehearsed answer for the typical "why did you choose this project" or "how was … to work with." So I always try to break away from that and look for a real conversation with a human being. 

What has been the most surprising thing about covering Hollywood and American entertainment? 

How this industry is always ready to embrace a new talented figure, and that's why in Hollywood the rise to stardom can happen very quickly. 

Do you think that the American media gives foreign films/TV the amount of recognition it deserves? Could the HFPA be doing more to diversify the spotlight?

Not really, but the new generations are not afraid of subtitles, so with successful TV shows like La Casa de Papel and Squid Game, American media had no option but to open up. And the HFPA has always been looking to diversify the spotlight. In fact, our Non-English Language category is the only one in which we go the extra mile to promote the participating films.  In a typical year, we organized four all-day screening sessions at the Egyptian Theater with the American Cinematheque, and every year just before the Globes we have a panel with all the nominated directors. It's free and open to the public, and before it we screen all the nominated films. But we always can do more, and we will. 

You have a background in literature and anthropology and have lived in Los Angeles for the past 30 years. What do you believe is the unique role or perspective you offer entertainment media?

When I went to college 40 years ago in Argentina, there were no film schools as we understand them today. That's why I searched for different options such as Literature and Anthropology, but none satisfied me. My real education is in film, and was achieved by talking to the masters of cinema during my 30 years in Los Angeles. During that period I paid special attention to Latin American, Spanish, and Latino filmmakers and talent, so I believe I have a special knowledge about the Hispanic market, both in the U.S. and abroad, but also about cinema and television in general. 

Media is always evolving and moving with the times. What do you envision for the future of the HFPA? How could the Association expand or evolve?

The HFPA plays a key role in the American market as the representative of foreign journalists covering entertainment in the U.S. But the way of reporting has changed significatively in the last couple of years, as the pandemic forced studios to do everything by Zoom. So the HFPA will have to adapt and follow the new system and hope for a return to in-person interviews. 

You’ve written for many different audiences across Spain, Latin America, and South America. What do you think a journalist needs to be able to reach such a wide range of audiences?

A correspondent based in the U.S. must understand how a local person interested in entertainment thinks in any of these markets. He needs to be a translator, in a way, able to explain the complex reality of Hollywood to the people that consume what the U.S. generates. Still, I think a film lover is a film lover no matter where he is, and the same thing goes for a TV fan. 

What has been the most rewarding part of working in the U.S.? What has been the most challenging?

The most rewarding part has been meeting most of the idols I had when I lived in Argentina. I also experienced seeing new idols in the making before they became famous, such as Leonardo DiCaprio, Jennifer Lopez, or Reese Witherspoon. The most challenging was to force studio publicists to understand the importance of the Hispanic market back in the ‘90s, when they basically ignored it. I kicked these doors open back then and I'm so proud it's an integral part of studio marketing now. 

If you could describe your journey with the HFPA in one word, what would it be?
Rewarding.