I was trying to solve a problem with the ending. How do you end a spiritual film? And it became clear to me that I had to go back to my origins, to Bresson, Dreyer, and Ozu... If you're going to make a serious spiritual film, it has to have that formal rigor. And Bresson, particularly *A Man Escaped* and *Jeanne d’Arc*, they just set the standard for that kind of austerity and spiritual quest.