It is the most expensive Netflix production to date: "White Noise", Noah Baumbach's film adaptation of Don DeLillo's famous novel from 1985, cost 200 million dollars. Adam Driver and Greta Gerwig play the main roles, the Hitler Studies researcher Gladney and his wife.

When an accident releases a cloud of poisonous gas, apocalyptic fears spread through the consumer-friendly suburban world.

The 53-year-old Baumbach has attracted attention with independent films such as "Frances Ha" or "Marriage Story".

Your film was not only very expensive, it is also very ambitious, a kaleidoscope of different genres.

There is quite a bit of pressure to succeed – how do you deal with that?

We made it even harder for ourselves than necessary.

For example, we avoided special effects to make everything feel as real as possible.

So we crashed a real car into a real canyon and actually crashed the truck into a train.

It was all very challenging and required a lot of preparation.

But that's how good storytelling works, you have to face it every day of shooting.

Even if that means you have to be on a remote Ohio highway at 4:30 in the morning to shoot a scene like this.

Collisions between cars and trains are action elements.

Did you enjoy letting it rip?

I gave the team a lecture on the history of vehicle-train film collisions before we did it ourselves.

I wanted to stage the scene as a summoning ritual, as if the main character, Jack, was tempting death.

So we meticulously prepared and choreographed this scene.

Every move was planned.

Still, there are many unpredictable factors when crashing a real truck and train.

But we prepared for it as best we could and knew exactly how the train would come into the frame, how Jack's arms would move... It was tedious.

Do you understand Jack's obsession with death?

In our lives we have developed many strategies and routines in order not to have to deal with the subject of death.

We like to shift the topic into the fictional world, we watch fantastic films and series about it so that we don't have to perceive it as a reality in our world.

My big realization from working with the material was that it might be good to deal more with death.

Basically, allowing death into life is a way to enjoy life even more.

So far you have only filmed your own screenplays.

This time you have a modern classic of American literature as a template.

How did that happen?