way into the Métro tunnels, through which they can walk in safety as the system is still on strike. In the morning, Albertine carries the sleeping child to the railway station, where her mother Jeanne regrets that she will have to find a better-performing lover. Waking up, Zazie says her experiences have made her a bit more grown-up. Outside, all the escalators of the Métro start up because the strike is over. Cast Catherine Demongeot as Zazie Philippe Noiret as Uncle Gabriel Hubert Deschamps as Turandot Carla Marlier as Albertine Annie Fratellini as Mado Vittorio Caprioli as Trouscaillon Jacques Dufilho as Ferdinand Grédoux Yvonne Clech as Madame Mouaque Odette Piquet as Zazie's mother Nicolas Bataille as Fédor Antoine Roblot as Charles Marc Doelnitz as M. Coquetti Production William Klein was a great admirer of Queneau's work and had been working on adapting his books when Louis Malle approached him about co-directing Zazie dans le Métro. Klein was skeptical about how that would work, but he agreed to meet with Malle. After discussing the project, both agreed that Klein could function as an art director, finding visuals that corresponded to the writing. Klein had never been close to the making of a commercial film before, and after the first day, he realized it was absurd that anyone could say they were co-directing a film, partly because all decisions on-set had to come from Malle. On the second day, Klein saw rushes for the first time when he viewed them with the rest of the crew. After seeing one particular scene shot four to six times, Klein thought the repetition looked interesting and suggested they use it in the film and repeat a bit of dialogue a few times. His idea was greeted with silence, and it was then that Klein realized that co-directing would be impossible. Nevertheless, Klein continued to work on the film, having already convinced them to use only two lenses, one of which was a telephoto lens and the other a wide angle lens. He even shot some sequences using a handheld camera that would ultimately appear in the film. Klein also suggested making large posters like big advertisements that used abstract letters, reflecting some of the made-up words in Queneau's book. All the indoor shooting was also dominated by the electric light advertising outside of the windows, an idea inspired by Klein's own film, Broadway by Light.