電影《流浪地球》火了。這部國產硬核科幻片的票房目前已經突破44億元。與此同時，這部電影的衍生品在電商網站熱售，從99元一套的杯墊到4999元的限量版運兵車，純銅的材質加上精心打造，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，是一家來自杭州建德的文創企業的創意和努力。這家文創企業，用傳統銅手工藝打造的不只是《流浪地球》這個產品，還有漫威系列、變形金剛等，讓傳承數千年的銅文化再次借由創意呈現在年輕人面前?！　?/span>

一

        “一聽說國產科幻，我就搖頭，一口回絕了?！薄般~師傅”創始人、璽匠股份董事長俞光回憶起去年五月第一次接觸這部電影時這樣說道。后來他發現《流浪地球》衍生品保底費要得很厚道，幾乎可以忽略不計，當時還在想劇組是不是太缺錢了，幾個鋼镚也要掙。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，把我給鎮住了?！?/span>

看完草圖，他決定拿下這個授權進行開發，但當時公司內部還是有不同意見?！耙粊硎菍a科幻不看好，怕東西賣不出去；二則是授權拿得太多，時間精力上怕顧不過來；另一個原因是擔心不形成系列的電影IP生命力很短暫，電影即使不錯，但一下映，熱度也就過了?！庇峁庹f，最后他還是堅持要做，就是為了支持中國科幻電影，“即使這部電影最后票房不好，我們一個衍生品也沒賣出去，也無所謂，這點錢，就算是致敬導演的勇氣了?！?/span>

        之所以選擇杯墊、宇航員、運兵車這些產品，“其實是憑直覺覺得這幾個造型比較酷，價位上也有高低的區別，能適應不同的消費群體?！?/span>

        今年年初，在電影北京首映式上，他把這些開發好的產品都帶去了，“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、幫我們在作品上簽名。我說送你一個宇航員好了，把你名字刻上，他開心不已，過會兒又指著運兵車弱弱地問我：我能不能選這個？這個實在太酷了！我說行，我兩個都送你。這可把他樂壞了?！庇峁庹f。

        這4個衍生產品開始預售后，賣得都不錯，“但這個不是太重要，重要的是我很開心中國科幻電影終于有了自己的誠意之作，中國觀眾終于開始用口碑投票?！庇峁膺@樣認為。

二

        這不是這家企業第一次拿下流行IP的授權了，他們在創作的還有漫威系列、變形金剛系列、大英博物館系列、韓美林作品系列等。俞光認為，傳統文化的發揚光大，就需要這些新IP的加持。

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

         “我本身年紀不算很大，又是學畫出身，比較喜歡做一些新鮮的嘗試。我國的銅器制造技藝已經流傳了5000年，到現在還是全世界頂尖的水準，但是我們的審美在一代一代地改變，鑄造技藝也在一點一點地變化。我就在想，我們怎么樣讓這門古老手藝做出來的作品被現在的年輕人喜歡，介入當下大的電影IP肯定是一個很好的路徑?！边@個辦法也幫“銅師傅”圈粉無數，目前粉絲數已經達到了40多萬。

        創新創意不只是在新產業中，在傳統行業升級的過程中顯得更為寶貴。俞光說，自己的目標就是希望能更深入地挖掘中國傳統工藝和文化的精髓，同時也會加大探索當下新題材的力度，希望銅工藝品不再是古老、傳統、冷門、受眾少的代名詞，能通過對傳統及當代題材的創新，做出更多大家喜歡的作品來。

三

        據中投產業中心預計，至2020年，中國電影衍生品市場規模將超100億元。市場是有了，但提供的產品卻并不令人樂觀。

        手機殼、鑰匙鏈、馬克杯……一提到衍生品，很多消費者的第一反應都是單調的“老三樣”。根據微影數據研究院調查報告，在關注某電影衍生品但最終放棄購買的用戶中，有近六成人認為價格太貴，不值得買，有兩成人認為產品沒創意、不實用或質量差。報告分析，“與過去相比，中國消費者接受在更高質量產品上花更多的錢，期待物有所值?！?/span>

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

        衍生品需要的是創意，更需要持久性。這種創意不只是簡單的跨界，需要更多像“銅師傅”這樣的文創企業能夠架起傳統文化與時尚電影之間的橋梁，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，更要有濃烈的中國元素和中國傳統文化特色，這樣才能獲得海內外粉絲的認可與支持。

Business in Hangzhou Rides on the Back of The Wandering Earth

The Wandering Earth, 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 Transformers, 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.”

Yu’s 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 Yu’s team made their debut at the film’s 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 couldn’t 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 Yu’s 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 company’s 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 China’s 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.