Sie suchten nach: superstar (Englisch - Sinhala)

- superstar!
සුපිරි තරුව!

concentrate, superstar.
අවධානය යොමු කරන්න, සුපිරි තරුව.

well done, superstar!
නියමයි, සුපිරි වීරයා!

(singing) superstar
සුපිරි තරුව

he was a superstar.
{\3chffffff\1chff0\fs\b3\an0}ඒකයි මෙච්චර නපුරු සහ මුරන්ඩූ... .

no sponsorship, superstar.
කිසිම අනුග්‍රහයක් නැහැ, සුපිරි තරුව.

all right, superstar?
ඔයා හොඳින්ද, සුපිරි වීරයා?

- superstar coming through.
- සුපිරි තරුව ඔන්න එනවා.

..and not rajnikant the superstar.
..සුපර්ස්ටාර් රජිනිකාන්ත්ව නෙමෙයි.

- break a leg, superstar. - okay.
හොදට කරන්න ඕනේ කෙල්ලේ හරි.

hazurilal mehra presents sunny the superstar.
හසුරිලාල් මෙහෙරා හදුන්වාදෙන සුපිරි තරුව සනී මෙහෙරා.

superstar qb victory stone brings in the win single-handedly.
සුපිරි තරුව q.b. ස්ටෝන් තනි දායකත්වයකින් ජයග්‍රහණය ගෙන ආවා.

what life... filling in for a crowd... and she... preens like a superstar.
පුදුම ජීවිතයක් ! සෙනග හතර වටේ... ඒ මදිවට මෙයා...

david wark griffith (1875-1948) was the first film director who became a superstar in the popular media of his day, his name alone guaranteeing receipts at the box office from the mid-teens through the early 1920s. he was often credited with virtually single-handedly inventing modern motion picture story-telling techniques. he did not actually invent such concepts as close- ups and parallel editing, which had been around for years when he started making films in 1908. but griffith, unlike many filmmakers of the early years, was quick to recognize and exploit the dramatic impact of these devices, developing them to the point that film became a genuine expressive art form. unable to make a living at his chosen profession of stage actor and playwright, he accepted a job as a film actor and soon turned to directing. at the biograph studio he directed well over 400 short films during a period of about five years, experimenting with different techniques, acting styles, and subject matter, and gauging their effect on the audience. with the help of veteran cameraman w. bitzer- 1944), who had been at biograph since its beginnings in the 1890s, he explored a variety of photographic effects that were soon copied by other filmmakers. he also helped pioneer filmed stories that lasted longer than about 15 minutes on the screen, which was the amount of film that could fit on one 1,000-foot reel (the maximum capacity of most projectors of the time). over the initial objections of his employers, by 1911 he began making some two-reel films, with increasingly more complex stories, characters, and editing. in 1913 he secretly planned to make his production of judith of bethulia into a biblical epic that ran an hour, or four reels. it was not the first film of such a length, nor even the first four-reel american film (the french queen elizabeth and the american richard iii and cleopatra are four- and five-reel productions from 1912 that have survived). movie patrons were starting to develop a taste for "feature-length" attractions and biograph officials were finally realizing this, but for defying their authority they demoted griffith to a “supervisor” and delayed releasing the film for several months. in the meantime griffith left biograph to become production chief at reliance-majestic. there, in 1914, he directed four films, including the avenging conscience, which blended several stories by edgar allen poe, especially “the tell-tale heart, ” and featured several of the same actors he would cast in a massive project close to his
david wark griffith (1875-1948) was the first film director who became a superstar in the popular media of his day, his name alone guaranteeing receipts at the box office from the mid-teens through the early 1920s. he was often credited with virtually single-handedly