I think in general, romantic comedies tend to take one person’s point of view, but every once in a while you get something that is balanced for two people.

Bullock is commenting on a common structural habit of the romantic-comedy genre: many films align the audience primarily with one protagonist’s desires, misunderstandings, and emotional arc, letting the other romantic lead function more as an object of pursuit than as a fully realized subject. Her praise for the rarer “balanced” example points to stories that grant both partners comparable interiority—each with motives, vulnerabilities, and growth—so the romance feels reciprocal rather than one-sided. Implicitly, she is also describing what makes certain rom-coms more emotionally credible: when both characters’ perspectives are dramatized, the relationship reads as a negotiation between equals, not a narrative reward for a single hero.