Mohammed Zeeshan Ayyub reveals why he quit big star films after feeling overlooked in ‘Zero’ and ‘Thugs of Hindostan’: ‘I made a conscious decision’ |

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Mohammed Zeeshan Ayyub, known for his strong performances, stepped back from star-led films after being overlooked in ‘Thugs of Hindostan’ and ‘Zero’. Frustrated, he chose meaningful roles offering true ownership. Ayyub now focuses on streaming and character-driven stories, valuing creative control over fame and blockbuster visibility.

Mohammed Zeeshan Ayyub, recognized as one of Hindi cinema’s most reliable actors, intentionally stepped back from major star-led films after feeling his contributions in projects like ‘Thugs of Hindostan’ and ‘Zero’ were overlooked by audiences and media.

Frustration sparks strategy shift

During a candid interview with Moneycontrol, Zeeshan opened up about his frustration over the lack of credit for memorable characters, which inspired him to remodel his game plan, pause selectively and commit to handpicked opportunities. Celebrated for his detailed turns in ‘Raanjhanaa’ and ‘Tanu Weds Manu’, he described pivoting to streaming content and embracing tales demanding true ownership from him. He unpacked his rejection of blockbuster gigs, noting how it fueled his artistic progress, highlighted by his turn as a Kashmiri soccer mentor in a show that reimagines the region uniquely.

Breaking from star-studded sets

The actor additionally revealed his purposeful break from star-studded films once he saw his contributions getting buried in those dynamics. “I made a conscious decision, no more big-star films unless the character was strong and the responsibility was mine,” he said.

Lessons from blockbuster flops

Zeeshan’s decision happened post major releases such as ‘Thugs of Hindostan’ featuring Aamir Khan and ‘Zero’ with Shah Rukh Khan, in which Zeeshan felt his significant parts were shrugged off with brief nods. The actor said that he didn’t get anything from those films. He was part of them, but the media and audience ignored his contribution. Frustrated, Ayyub refined his selections by rejecting numerous high-profile deals. “For 2–3 years after Covid, I told myself: let’s not do big films, let’s find our space,” he said.

Prioritizing ownership over fame

For Zeeshan, true ownership trumps mere exposure when picking parts. “If a story succeeds or fails, I should share the credit or blame. If I’m barely part of the screenplay, I don’t want to be there,” he says. He acknowledges this bold stance has curbed his output but sharpened his profile as a performer chasing depth over dazzle.

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