"Hollywood and the Mafia" (Ediciones Robinbook) reflects the evolution that has occurred in the relationship between American cinema and the underworld. "The Godfather" has a "romantic view" of what the Mafia becomes "Gone with the Wind" of mafia movies, ironically Adler. The TV series "The Sopranos" reflects the current decline, "Far from that mob twenties who wanted to control Hollywood, we face theives, gangsters middle class, whose children are accountants, bankers or lawyers." In his opinion, "The Sopranos" is perhaps the production that best reflects the gangster world and sees unreasonable that the writers had contacts with key mafia clan in New Jersey, "because what explains is excessively harsh, very good, similar to what was the case with "Scarface" (1932), Howard Hawks, who had mobsters as advisors on set. The U.S. government never interfered in the affairs of the mafia in the film, because in fact "did not recognize the existence of the mafia until 1957." The problems and threats that have had some mafia movie stars with agents, such as actor Steven Seagal, "have been almost exclusively with debts in the game." The positions were mixed among the stars, from Frank Sinatra to "rather be a 'Don' Mafia President of the United States, and walking in the country, according to Jerry Lewis, with bags of money from the mafia" up to a James Cagney who fought for the mafia could not dominate the Screen Actors Guild. " Both Cagney and his wife were threatened, as they went to Cecil B. DeMille, intimidated by mafia hitmen while hospitalized. At present, it is difficult to control the mafia syndicates movies, because the unions themselves are increasingly controlled by the government. Perhaps the greatest impact of the mafia transport occurs: "Hollywood always offered very good agreements with carriers and therefore the cost of the films was so high and for that reason more and more films are made out of Hollywood."