In 2002, we had the idea of including within the magazine not only architectural projects, but also articles that featured the creation and construction of the film set. This was a natural progression since we had formed relationships with both architects and scenic designers. Our first exclusive interview was with Oscar-winning production designer Ken Adam in London. Set design was becoming an increasingly compelling topic as multiplexes became a common feature in the urban landscape. Interest in new multiplex projects had begun to wane so we decided to create a new magazine that would showcase built sets.
We named it THE SCENOGRAPHER, precisely because it timed with the start of our collaboration and dialogue with the Art Directors Guild in Los Angeles, the American association of set designers. During this period, we published dozens of articles showcasing the skills of production designers in the U.S., essentially covering American film production design in the 2003-2010 timeframe.