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(“The rest of the world is like, ‘Who is that person? ’ ”) When people now stop Fanning on the street (“Are you——”), she tries not to reply, “Dakota Fanning’s sister!

“Opposite, opposite, opposite.” On the one hand, there’s her Pisces side: “very girly,” otherworldly, uncanny in talent.

Fanning had her very first kiss on-camera, in —and they used that take.

Yet there’s another side to Fanning (her Aries side, according to the star chart) that few people see, although she wishes more would. “My mom and my sister are always like, ‘That’s not something you brag about,’ ” she says with a laugh.

We’ve met for drinks (a lemonade, a Diet Coke—“a lot of ice,” she says) before embarking on a haunted tour of the French Quarter, something Fanning has always wanted to do. Coppola’s adaptation of (originally a 1966 novel by Thomas P.

Cullinan and, later, a 1971 film starring Clint Eastwood), is the Civil War–era story of a wounded Union soldier (Farrell) taken in by a girls’ boarding school in Virginia and subjected to a gantlet of hospitality, temptation, and horror.

A., and the Fannings have an extended family of, as Elle puts it, “girls, girls, girls!

” She thinks a lot about the women around her and the standards that they’ve set.

It’s not only the regal beauty—arching eyebrows, snub nose, and a sylphic whoosh of hair—or the growing catalog of impressive work.