also granted Merchant and Ivory the freedom to make the film as they wished. The entire crew took very low salaries while Newman and Woodward both took much lower salaries than they were usually accustomed to. With the exception of a scene in Paris and another which took advantage of a Toronto snowfall, Mr. & Mrs. Bridge was shot entirely in Kansas City, Missouri on the same streets that Connell would have traveled as a child and teenager. No sound stages were used as real houses, auditoriums and office buildings were all used as sets. The residence used as the Bridge home is just a block west of Loose Park on W. 54th St. There's also a scene set in the vault of the old First National Bank; now the Central Library, the very same vault has been repurposed as the Stanley H. Durwood Film Vault. Much of the film was shot out of sequence as a way of saving money. For example, when they filmed the law office of Mr. Bridge over one single morning, they changed the furniture and Newman's makeup and clothes every hour as the scenes jumped through the spring of 1932, the fall of 1938, the winter of 1945, and the summer of 1938. Budget constraints also prevented the art department from renting their set dressings, forcing them to rely on loans and donations. Brunschwig & Fils donated $100,000 worth of fabrics and wallpaper, Glen Raven Mills of North Carolina donated period awning material, and Benjamin Moore donated 100 gallons of paint. A local law firm loaned a dozen Tiffany lamps and paintings by Kansas City artists of the 1930s. Merchant himself borrowed bridge tables from a local society woman and a desk used by the founder of Hallmark greeting cards from his son, who was then head of the company. According to production designer David Gropman, the Bridges' home was filled with the personal belongings of the Connell family, with Evan Connell's sister, Barbara Zimmermann, loaning all of her porcelain, her whole collection of silver, her Christmas tree ornaments and her coffee urn. A lamp Evan Connell made as a boy can be seen in the bedroom of Douglas Bridge while marble bookends that used to belong to Evan Connell's father were used to dress the law office of Mr. Bridge. The costume designer Carol Ramsey also had to borrow the production's entire wardrobe,