How would “The social network” have been if it had been set in 1893? What do Jagger, Dylan, and Bowie have to do in a movie about U.S. patent struggles rather than a spark of cinematic talent?

Shorter, rocker and thrilling, that’s how the Texan director Alfonso Gomez-Rejon depicts the new version of “The Current War.”

A movie once thought it wouldn’t “see the light” and that even threatened Gomez-Rejon’s professional career in the hands of The Weinstein Company – a business gone bad and that received a huge boo at its high-profile premiere at the 2017 edition of the International Toronto Film Festival.

Then there was the sexual allegations scandal against its producer, Harvey Weinstein, and the movie was shelved. Until Scorsese replaced the fuses…

The awarded director became the film executive producer and gave the Texan a new chance to work on Edison’s story in his way.

“It was a period movie and it’s about the future and it should feel like that… Edison, Westinghouse, and Tesla were the first disruptors, the first futurist. Now there’s Bezos and Musk and Bezos, and all of that”, tells the director to the Houston Chronical.

He added that “Current War” is an opportunity to reflects upon the responsibility and consequences of new technologies:

“The light bulb led to the electric chair. Social media can sway an election or lead to loneliness,” states.

He added that “Current War” is an opportunity to reflects upon the responsibility and consequences of new technologies:

“The light bulb led to the electric chair. Social media can sway an election or lead to loneliness,” states.

Ten minutes shorter, five new scenes and a more dynamic and renewed score but the same brilliant cast –Benedict Cumberbatch (Edison), Michael Shannon (George Westinghouse) and Nicholas Hault (Tesla)-, the movie based on the battle ranged between the three inventors could be a new opportunity for the Texan to dazzle us at Oscars.

“Edison, Westinghouse and Tesla were the first disruptors, the first futurists.”

What will Hollywood have to say about Scorsese and Gomez-Rejon’s effort to give a new chance to this powerful historical memento? Could we erase the previous poor and boring version of  “The Current War”?

Be that as it may, the director born in Laredo - who has recorded great movies such as  “Me and Earl and The Dying Girl” (2015) - is one of the best examples of how the industry often appropriates an artist’s work. And, how the filmmaker, in turn, reconquers his own movie.