Cohen would say that his pictures were apolitical, but they did have a point of view, even if it was just an extension of his “if it sells, it works” philosophy. His biggest moneymakers often repeated the formula of, as he put it: “Taking something which is considered benevolent and turning it into some kind of monstrosity.” He changed the way audiences felt about babies (in “It’s Alive”), ambulances (in “The Ambulance”) and yogurt (in “The Stuff”).

Source: Los Angeles Times March 25, 2019 18:56 UTC