I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.
I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.
I love that Moana is a heroine, and I hope people take that away, and that you most certainly can be the heroine, or hero, of your own story.
In the '80s, there was a fixed costume of a heroine, and not the physical costume, but this is what a heroine is, she is an art prop. She will look beautiful, support the hero, dance, get saved by hero. I didn't ever aim to go there.
In a typical Hindi film, there's the role of the hero, the heroine, and the other important character is the villain.
In the '70s and '80s, there was a definite set of roles in a film. There would be a hero, a heroine and a villain.
On OTT, it's not about her or heroine, every single character is powerful and a hero, heroine in their own space.
I believe that every single person attached to a film is a character and nothing more. I don't categorize them as hero, heroine, etc.
I would love to, on one project, play a villain. Any kind of villain. Any kind of antagonist. Somebody who's just rotten but fun, or the anti-hero.
The audience simply don't find a heroine picking a fight with 10 guys as convincing as a hero. So the industry always sticks to psychological thrillers and ghost movies for heroine-oriented projects and this can sustain only for a short time.
I always favor the hero and heroine from whichever book I've completed most recently. Yes, I'm faithless and fickle!
I never stopped being a heroine. I began acting when I was four and bagged my first film as a heroine at the age of 15.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
Of all the universal lies she accepted unquestioningly, the happy ending was the most absurd. The hero and heroine lived happily ever after, and the ending seemed indisputable, definitive. No questions asked about how long love or happiness lasts in that 'forever' that can be divided into lifetimes, years, months. Even days
As I had visualized, 'Heroine' is shaping up to be a very contemporary film with a different premise and strata. This film, like most of my other films, is a blend of facts and fiction. The film has a larger span, more characters, and costumes... a journey that revolves around an actress's life and the showbiz.
There are no hero-heroine films any more. They are more character-oriented.