
Strong women characters in ‘Thammudu' will make female audiences feel proud
The role came with its own challenges. 'After 'Kantara', I got a call from director Sriram Venu. I did a look test in Hyderabad, and once that went well, they handed me the dialogue version. They also asked me to learn horse riding, which I practiced for three to four hours every day. We shot in the rocky terrains of Araku, which made it even more demanding. But I'm happy with how the scenes turned out.'
According to Sapthami, she was the first actor to be cast for the film. 'Director Venu garu always said he enjoyed writing Ratna's character the most. Though my screen time isn't very long, the character has depth and importance. I believe 'Thammudu' will earn me recognition for this role.'
While 'Thammudu' shares its title with the iconic Pawan Kalyan film, Sapthami admitted, 'I know about Pawan Kalyan garu's 'Thammudu' and how successful it was. Venu garu explained the significance of the title. I haven't watched the full movie yet, but I will definitely watch it before our release.'
What truly excites Sapthami is the strong representation of women in the film. 'In most movies, female characters are often shown just dancing or singing with the hero. But in 'Thammudu', we fight alongside the hero,' she emphasized.
She elaborated, 'Laya garu plays a strict officer. One of the characters, Gutthi, drives a bus in the film and even learned bus driving for the role. Myself, Varsha, Ditya, and Swasika all have action scenes. These aren't filler roles—they are crucial to the story. I'm confident that women in the audience will feel proud when they see how powerfully we are portrayed.'
Along with action and drama, the film has a romantic angle as well. 'There's a sweet love story between Nithiin's character and mine. It begins in our teenage years and matures over time. By the end of the film, audiences will be emotionally invested in seeing us unite.'
'Thammudu' is mounted on a grand scale, and Sapthami urges audiences to experience it on the big screen. 'You can't get the same feeling watching it at home. The visuals, sound, and emotion are meant for the theatre. If you've seen the trailer, you already know how massive this film is.'
After 'Kantara', Sapthami has been choosy about her projects. 'I love doing commercial films—like Rashmika's role in 'Pushpa', which I really liked. I got several offers after 'Kantara', but many weren't exciting. That's why I haven't been seen much recently.'
She concluded, 'Right now, I'm working on two Telugu films and also have projects in Tamil and Kannada. I want to work across all languages. If the roles are exciting, I'm ready to take them on.'

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
&w=3840&q=100)

Business Standard
an hour ago
- Business Standard
Indian OTT platforms continue to expand, but on smaller scale with low risk
Indian media and entertainment companies continue to rely on their streaming segments, but at a cautious pace—focusing on profitability and limiting financial risk. Major players with pan-India audiences, such as Zee Entertainment Enterprises' (ZEEL) ZEE5 and Balaji Telefilms-backed ALTT, have reduced operational costs over the years and rebranded their over-the-top (OTT) platforms. While the OTT industry broadly aims to cut costs, media analysts and executives note that this trend is more prominent among platforms launched by Indian companies, which cannot match the spending capacity of global giants like Netflix and Amazon Prime Video. The only notable exception is Reliance Industries-backed JioHotstar. 'OTT platforms have been present in India for the last 10 to 15 years… Even the most lenient investors would like to see some return right now,' said a media analyst, on the condition of anonymity. In FY25, ZEE5 recorded an EBITDA (earnings before interest, taxes, depreciation and amortisation) loss of Rs 550 crore, down from Rs 1,110 crore in FY24. This reduction was largely achieved through cost-cutting measures. In an investor presentation, ZEEL stated it aims to break even on ZEE5 from an EBITDA loss of Rs 548 crore (excluding network costs) in FY25, and is now positioned to become a leading and profitable OTT player, having completed its recent investment cycle. ALTT, meanwhile, has consciously scaled down operations, said Sanjay Dwivedi, group chief executive officer and chief financial officer, Balaji Telefilms. The company was burning Rs 145 crore annually to sustain the segment, which was unsustainable. 'As a result, we cut down on cost and reworked our strategy. We want to be Thums Up to Coke... Netflix and Prime Video will exist, and we will exist in a smaller way—we don't want to burn cash,' he said. According to Vivek Menon, managing partner at NV Capital, a media and entertainment fund, this shift is more visible among pan-India streaming platforms—particularly those buying content from Bollywood and the Tamil and Telugu markets, where content costs are higher. He added that OTT adoption only truly accelerated post-COVID, so the business is still in cash burn mode to build a subscriber base and requires a long, patient approach. 'It is a tough game right now for Indian players because the industry is still in the growth stage. The audience has enough free alternatives to consume content. Also, a streaming platform needs massive pockets to succeed,' the analyst said. Shemaroo Entertainment's Gujarati-focused platform ShemarooMe is 'on the road to profitability and viability,' according to Saurabh Srivastava, chief operating officer, digital business, Shemaroo Entertainment. Srivastava noted that the company saw high double-digit revenue growth in Q1 FY26, and will continue investing in its streaming platform. He said the industry is learning to rationalise operational costs and push for higher returns on investment. The subscriber base also grew by a high double-digit percentage year-on-year in Q1 FY26. Meanwhile, Hoichoi—a subscription-based video-on-demand (SVOD) platform focused on Bengali-language content—achieved cash breakeven in FY24. The platform currently hosts close to 200 original web series. 'As a production house creating Bengali films and TV for 30 years, transitioning to web content was a natural evolution,' said Vishnu Mohta, co-founder, Hoichoi. 'We focused deeply on one language—Bengali—and on serving that audience consistently. Over 60 per cent of our total expenses go into content creation. That's intentional. Unlike many platforms that spend heavily on marketing even when unit economics don't work, we've always aimed to keep marketing spends below 30 per cent of direct revenue.' He added that this approach—combined with strong intellectual property (IP) creation and organic subscriber growth—has kept the company profitable over the last few years and cash-flow positive for the past couple. Just as Balaji Telefilms expects its digital business to grow, Mohta noted that Hoichoi is considered a core business for its parent company. Media executives and analysts broadly agree that the OTT industry continues to grow, with each platform finding its niche. With several sub-segments still underserved, there is ample room for differentiated growth. 'Moving forward, it looks like most networks have a grasp on how the OTT model works and how one can monetise through subscriptions and advertising. The fact that ZEE5 is completely rebranding itself shows that investment in the sector will continue,' Menon said.


News18
2 hours ago
- News18
This Tamil Actor Starred With Aishwarya Rai, Rajinikanth; Then Turned Taxi Driver After Flops
Last Updated: Mirza Abbas Ali's fall from superstardom to obscurity highlights the film industry's unpredictability and the resilience required to survive its highs and lows Popular South cinema actor Mirza Abbas Ali, once a superstar of the 90s, has faced significant highs and lows in his career. Known for his work alongside big stars like Aishwarya Rai and Rajinikanth, Abbas starred in many successful films during the early 90s. However, his career took a downturn, leading to financial struggles so severe that he couldn't afford rent. Abbas, who has acted in both South Indian cinema and Bollywood, made his Bollywood debut with ' Ansh: The Deadly Part '. Unfortunately, the film did not perform well, and Abbas even advised his fans against watching it, admitting it was not up to par. The early 2000s saw a string of flops for Abbas, which caused his career graph to plummet. Despite having worked with superstars like Aishwarya Rai and Rajinikanth, he quickly vanished from the acting scene. Quit Acting After Career Began To Decline Abbas became a well-known face in Tamil cinema with hits like 'Kadhal Desam', ' V.I.P. ', and ' Kandukondain Kandukondain '. Yet, as his career declined, he started taking on supporting roles before eventually disappearing from the industry altogether. He ultimately left films and moved abroad, settling in New Zealand, where he took up jobs as a mechanic and taxi driver to support his family. Struggled To Pay Rent In an old interview, Abbas recounted the hardships he faced, 'Initially, some of my films were successful, but then a series of flops left me without money to pay rent or even buy cigarettes. Out of self-respect, I initially resisted taking up other work, but eventually, I sought help from producer RB Chaudhary, who gave me a role in ' Pooveli '. However, I soon quit films as I no longer enjoyed it." Abbas's financial struggles were so dire that he had to use petrol station washrooms because he couldn't afford to use the facilities at construction sites. During the COVID-19 pandemic, he attempted to reconnect with fans through Zoom calls to offer some encouragement and support. 'I tried to motivate people by connecting with them over Zoom," he shared. First Published:


Time of India
2 hours ago
- Time of India
When Aishwarya Rai Bachchan's 'Kandukondain Kandukondain' co-star Mirza Abbas Ali left the industry and became a taxi driver in New Zealand: ‘I would use the restroom at petrol stations'
Actor — popularly known as Abbas — was one of the most charming faces of the 1990s. He had a strong fan following in the South, having appeared in several Tamil, Telugu, and Malayalam films. Tired of too many ads? go ad free now Abbas made his debut with 'Kadhal Desam' and soon became a familiar face in hits such as 'Pooveli', Jeans', Padayappa', 'Suyamvaram', and 'Kandukondain Kandukondain'. However, he gradually made the decision to step away from the film industry. Abbas about making an exit from the industry Abbas' career began to decline steadily in the early 2000s following a few commercial setbacks. After his small role in 's romantic hit 'Minnale' (2001), starring R. Madhavan, he was mostly seen in cameo and supporting roles. Eventually, he withdrew from cinema entirely. Abbas spoke about his decision to leave the industry in an old interview. Abhishek Bachchan Breaks Silence On Divorce Rumours With Aishwarya Rai Abbas was heartbroken after his first break up In a conversation with Rednool, Abbas shared that he had reached a breaking point after failing his Class 10 exams and going through a heartbreak. At one point, he even contemplated ending his life but became concerned about the pain it would cause his loved ones. He ventured into Bollywood with 'Ansh: The Deadly Part'. The film was unsuccessful, and Abbas soon found himself struggling financially. 'Following my initial achievements, some of my films failed, leaving me financially destitute and unable to afford even basic necessities like rent or cigarettes. Initially, my pride stopped me from seeking alternative employment. However, I eventually approached producer R. Tired of too many ads? go ad free now B. Choudary and requested work. He offered me a role in Pooveli. But over time, I left films because I got bored. I wasn't enjoying my work. I distinctly remember advising my friends, who had come to watch my Bollywood debut Ansh: The Deadly Part, not to waste their time as I considered it 'bakwaas',' he admitted. Abbas did odd jobs in New Zealand Abbas later relocated to New Zealand and took up a variety of odd jobs to support his family. From working as a bike mechanic to driving taxis, he did what was necessary. Sharing some of his experiences abroad, he recalled, 'I would not use the toilet at the construction site. Instead, I would go to a petrol station, buy something, and use the restroom there. People there would often say they felt they had seen me somewhere. I would respond, 'Yes, I get that a lot.' Sometimes, I would reveal I was Abbas, and they would be shocked. I just registered their reactions in my mind.'