《流浪地球》背后有個(gè)“銅師傅”

張磊

電影《流浪地球》火了。這部國(guó)產(chǎn)硬核科幻片的票房目前已經(jīng)突破44億元。與此同時(shí)，這部電影的衍生品在電商網(wǎng)站熱售，從99元一套的杯墊到4999元的限量版運(yùn)兵車，純銅的材質(zhì)加上精心打造，也讓它們和電影一樣“硬核”，獲得了粉絲們的支持。

在這一系列衍生品背后，是一家來(lái)自杭州建德的文創(chuàng)企業(yè)的創(chuàng)意和努力。這家文創(chuàng)企業(yè)，用傳統(tǒng)銅手工藝打造的不只是《流浪地球》這個(gè)產(chǎn)品，還有漫威系列、變形金剛等，讓傳承數(shù)千年的銅文化再次借由創(chuàng)意呈現(xiàn)在年輕人面前。

一

“一聽說(shuō)國(guó)產(chǎn)科幻，我就搖頭，一口回絕了。”“銅師傅”創(chuàng)始人、璽匠股份董事長(zhǎng)俞光回憶起去年五月第一次接觸這部電影時(shí)這樣說(shuō)道。后來(lái)他發(fā)現(xiàn)《流浪地球》衍生品保底費(fèi)要得很厚道，幾乎可以忽略不計(jì)，當(dāng)時(shí)還在想劇組是不是太缺錢了，幾個(gè)鋼镚也要掙。于是他帶著一絲好奇，決定看一下劇情大綱和造型素材，“這一看，把我給鎮(zhèn)住了。”

看完草圖，他決定拿下這個(gè)授權(quán)進(jìn)行開發(fā)，但當(dāng)時(shí)公司內(nèi)部還是有不同意見?！耙粊?lái)是對(duì)國(guó)產(chǎn)科幻不看好，怕東西賣不出去;二則是授權(quán)拿得太多，時(shí)間精力上怕顧不過(guò)來(lái);另一個(gè)原因是擔(dān)心不形成系列的電影IP生命力很短暫，電影即使不錯(cuò)，但一下映，熱度也就過(guò)了?！庇峁庹f(shuō)，最后他還是堅(jiān)持要做，就是為了支持中國(guó)科幻電影，“即使這部電影最后票房不好，我們一個(gè)衍生品也沒賣出去，也無(wú)所謂，這點(diǎn)錢，就算是致敬導(dǎo)演的勇氣了?！?/p>

之所以選擇杯墊、宇航員、運(yùn)兵車這些產(chǎn)品，“其實(shí)是憑直覺覺得這幾個(gè)造型比較酷，價(jià)位上也有高低的區(qū)別，能適應(yīng)不同的消費(fèi)群體。”

今年年初，在電影北京首映式上，他把這些開發(fā)好的產(chǎn)品都帶去了，“屈楚蕭（《流浪地球》的主演）特別喜歡我們的銅宇航員，抱著摸了又摸，又很配合地和我們合影、幫我們?cè)谧髌飞虾灻?。我說(shuō)送你一個(gè)宇航員好了，把你名字刻上，他開心不已，過(guò)會(huì)兒又指著運(yùn)兵車弱弱地問(wèn)我：我能不能選這個(gè)？這個(gè)實(shí)在太酷了！我說(shuō)行，我兩個(gè)都送你。這可把他樂(lè)壞了。”俞光說(shuō)。

這4個(gè)衍生產(chǎn)品開始預(yù)售后，賣得都不錯(cuò)，“但這個(gè)不是太重要，重要的是我很開心中國(guó)科幻電影終于有了自己的誠(chéng)意之作，中國(guó)觀眾終于開始用口碑投票?！庇峁膺@樣認(rèn)為。

二

這不是這家企業(yè)第一次拿下流行IP的授權(quán)了，他們?cè)趧?chuàng)作的還有漫威系列、變形金剛系列、大英博物館系列、韓美林作品系列等。俞光認(rèn)為，傳統(tǒng)文化的發(fā)揚(yáng)光大，就需要這些新IP的加持。

俞光的公司現(xiàn)在有600多人，其中手工匠人就占了三分之一，傳統(tǒng)手工藝是靈感源泉，而新IP則是一汪活水。

“我本身年紀(jì)不算很大，又是學(xué)畫出身，比較喜歡做一些新鮮的嘗試。我國(guó)的銅器制造技藝已經(jīng)流傳了5000年，到現(xiàn)在還是全世界頂尖的水準(zhǔn)，但是我們的審美在一代一代地改變，鑄造技藝也在一點(diǎn)一點(diǎn)地變化。我就在想，我們?cè)趺礃幼屵@門古老手藝做出來(lái)的作品被現(xiàn)在的年輕人喜歡，介入當(dāng)下大的電影IP肯定是一個(gè)很好的路徑?！边@個(gè)辦法也幫“銅師傅”圈粉無(wú)數(shù)，目前粉絲數(shù)已經(jīng)達(dá)到了40多萬(wàn)。

創(chuàng)新創(chuàng)意不只是在新產(chǎn)業(yè)中，在傳統(tǒng)行業(yè)升級(jí)的過(guò)程中顯得更為寶貴。俞光說(shuō)，自己的目標(biāo)就是希望能更深入地挖掘中國(guó)傳統(tǒng)工藝和文化的精髓，同時(shí)也會(huì)加大探索當(dāng)下新題材的力度，希望銅工藝品不再是古老、傳統(tǒng)、冷門、受眾少的代名詞，能通過(guò)對(duì)傳統(tǒng)及當(dāng)代題材的創(chuàng)新，做出更多大家喜歡的作品來(lái)。

三

據(jù)中投產(chǎn)業(yè)中心預(yù)計(jì)，至2020年，中國(guó)電影衍生品市場(chǎng)規(guī)模將超100億元。市場(chǎng)是有了，但提供的產(chǎn)品卻并不令人樂(lè)觀。

手機(jī)殼、鑰匙鏈、馬克杯……一提到衍生品，很多消費(fèi)者的第一反應(yīng)都是單調(diào)的“老三樣”。根據(jù)微影數(shù)據(jù)研究院調(diào)查報(bào)告，在關(guān)注某電影衍生品但最終放棄購(gòu)買的用戶中，有近六成人認(rèn)為價(jià)格太貴，不值得買，有兩成人認(rèn)為產(chǎn)品沒創(chuàng)意、不實(shí)用或質(zhì)量差。報(bào)告分析，“與過(guò)去相比，中國(guó)消費(fèi)者接受在更高質(zhì)量產(chǎn)品上花更多的錢，期待物有所值。”

前幾年電影《大魚海棠》的周邊開發(fā)頗受關(guān)注，《三生三世十里桃花》盡管票房失敗，但衍生品開發(fā)類目廣泛，最終入袋3億元。

衍生品需要的是創(chuàng)意，更需要持久性。這種創(chuàng)意不只是簡(jiǎn)單的跨界，需要更多像“銅師傅”這樣的文創(chuàng)企業(yè)能夠架起傳統(tǒng)文化與時(shí)尚電影之間的橋梁，打破衍生品只是電影宣傳品的尷尬。

衍生品不光是販賣電影的故事、主角的臉，更要有濃烈的中國(guó)元素和中國(guó)傳統(tǒng)文化特色，這樣才能獲得海內(nèi)外粉絲的認(rèn)可與支持。

（部分圖片來(lái)自“視覺中國(guó)”）

Business in Hangzhou Rides on the Back ofThe Wandering Earth

By Zhang Lei

， a 2019 Chinese science fiction film directed by Frant Gwo， based on the novella of the same name by Locus Award and Hugo Award-winning author Liu Cixin， has received generally positive reviews from critics. The Hollywood Reporter describes it as "China's first full-scale interstellar spectacular."

A box office blockbuster， it has grossed over 4 billion yuan worldwide since its theatrical release on February 5， 2019 （Chinese New Year's Day）， becoming China's second highest-grossing film of all time and 2019's highest-grossing film worldwide.

The sensational success of the film has also triggered an e-commerce boom based on a variety of derivative products， based on the rigorous setting and tear-jerking plot of the film crafted by the skillful copper-smiths at Xijiang Co. Ltd， a Hangzhou-based creative company specialized in making derivatives. Founded in 2013， the company has collaborated with a good many filmmakers in producing film derivatives for the Marvel series and ， setting a wonderful example of extending the life of a film by passion， dedication and ingenuity.

“My first reaction to the invitation from a ‘Made in China Sci-fi production team was ‘No！” recalls Yu Guang， founder and president of Xijiang Co Ltd. “Judging from the offer that came to me in May of last year， I figured I would have nothing to lose financially even if the products fail the market; so I picked up the phone to find out more about the scenario and other things. The result was quite shocking.”

Yus quick decision to proceed with the authorization met with disagreement from the other members of his team， who were skeptical about the appeal of the first “made in China” interstellar film and argued that all the effort would not be worthwhile. “We were quite busy with many tasks at that time， and everyone told me it was not a good idea to waste time and money on such a short-lived IP. However， I decided to just do it， not because I was sure that we would make it in the commercial sense. I tried to convince everyone in the company that the director of the film at least deserved something more than cash for his courage to rival the Hollywood–dominated Sci-fi world.”

The final products crafted by Yus team made their debut at the films premiere held in Beijing in January. “Qu Chuxiao， who played the leading role in the film， loved the bronze astronauts and armored carriers so much that he just couldnt take his eyes off them. His excitement set me thinking.” Yu Guang reminisces.

“After watching the film， I realized how surprisingly good it was. I feel it is the first time that a well-made Sci-fi film， together with its production team， was done justice by Chinese viewers， which is much more important than the market performance of what we do.”

About one-third of the 600 employees of Yus company， known among its clients and fans as “Tongshifu” （meaning “the copper-smith”）， fall into the craftsman category. Traditional Chinese bronze handicraft is the ultimate source of the companys unfailing creativity.

“What we strive to achieve is to inject new blood into the craft so that it appeals to young generations，” shared Yu Guang， who started off as a painting artist.

“The essence of traditional Chinese culture will never lose its luster， as long as we find new， effective ways to present it.” Yu certainly has found his own way to achieve the goal. The bronze artifacts created under the “Tongshifu” label have brought in more than 400，000 fans.

Statistics predict the film derivative products market of China will top 10 billion yuan by 2020. However， insiders also warn such huge potentials are being reduced by a serious lack of creativity in product design and market promotion. For a long time， Chinese consumers have few options to consider when it comes to spending an extra amount of money after watching a film and taking a souvenir home， with low quality and poor practicality adding insult to injury. In this sense， expanding consumers choices beyond just buying mobile phone shells， key rings and mugs should be a top priority to be taken by “Tongshifu” and all its peers dreaming to break new grounds in Chinas film derivative products market.

Essentially speaking， film derivative products draw life not only from film plots and characters， but also from the culture the film is rooted in and identifies with， the full understanding of which， is the key to market success.