In another life, Elle Fanning could have been a fashion designer. “Many times, I will sketch designs to give to designers,” the self-proclaimed “daydreamer” reveals. In fact, it’s easy to envision this alternate reality. In March, Fanning heralded Sarah Burton’s era at Givenchy by gracing the Oscars in Burton’s first-ever custom haute couture look at the storied French house. This October, Fanning was among the first to wear Pierpaolo Piccioli’s debut Balenciaga Spring/Summer 2026 collection. Fanning is a fashion darling through and through, and the role fits her like a glove. 

In this life, however, Elle Fanning began acting at the tender age of 2. By her 5th birthday, she was celebrating on set with a cake and party hats, and by 13, she had already worked with some of the most renowned auteurs of modern cinema, including Alejandro González Iñárritu, David Fincher, and Sophia Coppola. Acting, she says, has helped her explore and express what she’s figuring out in her personal life growing up, taking with her the lessons learnt through every new experience. In 2021, she took her learnings a step further and began to tell the stories she believed in. On top of a busy schedule chock-full with filming and promoting, she runs a production company named Lewellen Pictures with her sister, Dakota. Among their upcoming projects is a film she describes as the “ultimate” story of sisterhood—marking the first time the Fanning sisters will act in a movie together. “Producing is a grind,” the younger Fanning sister says, “It is as much about the day-to-day as it is the final product. Things will not just magically happen. You have to make them happen.” 

In every reality—this life or another—I feel that Elle Fanning naturally shines as a go-getter. It’s not just a role she plays, but an intrinsic part of who she is, radiating through every passion she pursues. 

What is your earliest memory of acting?

I did a film called, ‘The Door in the Floor.’ I played Jeff Bridges’ and Kim Basinger’s daughter. I remember Jeff teaching me how to draw. I also had my 5th birthday on set. They threw me a party with cake and party hats!

Acting has been part of your life since you were 2 years old. And in the past 24 years, you’ve done 50 films and 21 TV titles, with 7 titles currently in production. What draws you to acting still?

 I still get that magical mix of excitement and nerves on the first day of shooting. The rush that comes with creating characters and collaborating with new filmmakers is just as vibrant as it was when I was a child. I also feel like acting helps me express things I’m trying to understand in my personal life. So with each new experience, I learn and grow as a person. To this day, I feel safest and most comfortable on a film set.

Growing up as a child actress, you were often the youngest on the call sheet. How did you overcome the barrier of asserting your opinions on directors or other cast members? For example, when you rejected Disney when they asked you to refilm an emotional scene in Maleficent, which you knew you had nailed, or when there are certain camera angles that you think are missing on the shoot.

When I was very young, I was just trying to soak up as much knowledge as possible on sets. I didn’t go to a formal acting school or anything, so I learned on the job. As I got older, I started to understand the mechanics of how a set works and what was the most efficient way to create an environment where everyone could do their best work. My confidence definitely grew, and I got more comfortable asserting my opinions. I had to remind myself, even though I was young, I still had experience, and my point of view mattered. While producing and starring in “The Great”, I felt my power really blossomed and I was less afraid to speak up.

You co-founded Lewellen Pictures with your sister, Dakota, in 2021. How has gaining the behind-the-scenes perspective of making films and TV shows—watching dailies and doing edits—affected your observations or actions on set, if at all?

 The behind-the-scenes of filmmaking has always fascinated me. It is such a crucial part of what makes a project work. The team that is assembled must be harmonious. I have learned from the best directors that casting and crew are of the utmost importance. And usually they work with their friends and are loyal to the people they have collaborated with before. I am lucky I get to produce with my sister. We balance each other out very well with what we bring to the table. We have different strengths. And I do think I view the day-to-day on a film set differently now that I am producing through our company. I love editing. It is a key part of the process, and I enjoy being in the editing room very much. The right cut can make or break a performance.

As both a producer and veteran actress, you’ve probably read hundreds of scripts over the years. Are there female archetypes that you are absolutely tired of reading? How do you hope to change the narrative with the agency that you’ve now gained as a producer?

 I definitely have read many ‘manic pixie dream girls’ and I am quite over that trope. I am always drawn towards messy and complicated women. Inherently, women are strong. And it is essential to write stories with fully dimensional female characters, where audiences can hopefully see themselves reflected on screen. I am always searching for new books/articles that I feel represent a woman we have not yet seen, or I want to watch on screen.

What’s been the biggest challenge you’ve encountered as a producer?

Producing is a grind. It is as much about the day-to-day as it is the final product. Things will not just magically happen. You have to make them happen. And some of the time, it is about compromise, making sure everyone’s voice is heard. One must problem-solve to get the best outcome. And sometimes the biggest challenge is having to admit you were wrong and knowing when someone else’s idea is better. That’s the beauty of collaborating. Producing is certainly a team sport.