The color rendering of a film has to do with both color balance and the specific color response curves of the emulsion. This said, almost all the film stock produced today is daylight balanced, making it pretty difficult to find tungsten balanced film (which gives you strong blue cast if shot under sunlight). The subtle differences that you observed have more to do with each emulsion's specific color palette.

The color response curves of color film emulsions are not linear across color channels and the response curve anomalies of each emulsion are idiosyncratic. Furthermore, each film may use different dyes, different filters and a different base layer. Such matters used to be much better explained in the technical documentation of pro-films during the heyday of film photography. Not much of that remains today, although you can still find the basic spec sheets online if needed (e.g. Spec Sheet for Kodak Portra 160). Apart from the tech specs, it takes some learning curve to get used to each film and to get to know how to expose it. For instance, portrait shooters know how to over-expose portrait film in order to attain an unsaturated dreamy look and nature/architectural photographers know how to put the limited dynamic range and the exaggerated colors of Fuji Velvia to use in order to produce the wow effect.

Your observations about color properties of the films you used are correct: Fuji C-41 emulsions do have a green-blue tendency and Kodak C-41 emulsions do have a yellow-orange cast. You can expect more or less the same effect with their other emulsions, with some variation. For instance, some Kodaks have a more reddish color palette (Ektar) while some are more focused on the yellows of the skin tones (Portras). Agfa also has cool colors, but less of Fuji's pronounced green.