Andrew Strahorn

Andrew Strahorn, born in Sydney back in ’75, sort of lives and breathes film. He’s not your average cinematographer—he’s the kind of guy who can make a rainy alley in L.A. look like something out of a fever dream. He’s got credits on stuff like Queen of the Ring (2024), Bel-Air (2022), and Lethal Weapon (2016), bouncing effortlessly from gritty action sequences to glossy, high-drama TV. You can see his fingerprints all over those projects, honestly. There’s this dynamic energy in his shots—like, you feel the tension in a chase scene, or the heartbreak in a quiet moment, all through his lens. Dude knows how to frame a story, pulling you in without you even realizing it. He’s not just stuck behind the camera, either. He’s produced projects, too, so he gets the big picture stuff—timelines, budgets, the whole circus. People in the industry talk about his knack for making sets run like clockwork, even when chaos is brewing all around. Growing up in Australia probably gave him that edge—resourceful, adaptable, a bit of a risk-taker. It’s kind of wild how someone from Sydney winds up shaping how millions see Hollywood stories, but that’s the magic. If you’ve caught yourself rewatching a slick action scene or pausing to admire some moody lighting, odds are good you’re looking at Strahorn’s work. That’s his thing: making movies feel bigger, sharper, and just a little more alive.