电影《流浪地球》火了。这部国产硬核科幻片的票房目前已经突破44亿元。与此同时，这部电影的衍生品在电商网站热售，从99元一套的杯垫到4999元的限量版运兵车，纯铜的材质加上精心打造，也让它们和电影一样“硬核”，获得了粉丝们的支持。

　　在这一系列衍生品背后，是一家来自杭州建德的文创企业的创意和努力。这家文创企业，用传统铜手工艺打造的不只是《流浪地球》这个产品，还有漫威系列、变形金刚等，让传承数千年的铜文化再次借由创意呈现在年轻人面前。　　

一

        “一听说国产科幻，我就摇头，一口回绝了。”“铜师傅”创始人、玺匠股份董事长俞光回忆起去年五月第一次接触这部电影时这样说道。后来他发现《流浪地球》衍生品保底费要得很厚道，几乎可以忽略不计，当时还在想剧组是不是太缺钱了，几个钢镚也要挣。于是他带着一丝好奇，决定看一下剧情大纲和造型素材，“这一看，把我给镇住了。”

看完草图，他决定拿下这个授权进行开发，但当时公司内部还是有不同意见。“一来是对国产科幻不看好，怕东西卖不出去；二则是授权拿得太多，时间精力上怕顾不过来；另一个原因是担心不形成系列的电影IP生命力很短暂，电影即使不错，但一下映，热度也就过了。”俞光说，最后他还是坚持要做，就是为了支持中国科幻电影，“即使这部电影最后票房不好，我们一个衍生品也没卖出去，也无所谓，这点钱，就算是致敬导演的勇气了。”

        之所以选择杯垫、宇航员、运兵车这些产品，“其实是凭直觉觉得这几个造型比较酷，价位上也有高低的区别，能适应不同的消费群体。”

        今年年初，在电影北京首映式上，他把这些开发好的产品都带去了，“屈楚萧（《流浪地球》的主演）特别喜欢我们的铜宇航员，抱着摸了又摸，又很配合地和我们合影、帮我们在作品上签名。我说送你一个宇航员好了，把你名字刻上，他开心不已，过会儿又指着运兵车弱弱地问我：我能不能选这个？这个实在太酷了！我说行，我两个都送你。这可把他乐坏了。”俞光说。

        这4个衍生产品开始预售后，卖得都不错，“但这个不是太重要，重要的是我很开心中国科幻电影终于有了自己的诚意之作，中国观众终于开始用口碑投票。”俞光这样认为。

二

        这不是这家企业第一次拿下流行IP的授权了，他们在创作的还有漫威系列、变形金刚系列、大英博物馆系列、韩美林作品系列等。俞光认为，传统文化的发扬光大，就需要这些新IP的加持。

        俞光的公司现在有600多人，其中手工匠人就占了三分之一，传统手工艺是灵感源泉，而新IP则是一汪活水。

         “我本身年纪不算很大，又是学画出身，比较喜欢做一些新鲜的尝试。我国的铜器制造技艺已经流传了5000年，到现在还是全世界顶尖的水准，但是我们的审美在一代一代地改变，铸造技艺也在一点一点地变化。我就在想，我们怎么样让这门古老手艺做出来的作品被现在的年轻人喜欢，介入当下大的电影IP肯定是一个很好的路径。”这个办法也帮“铜师傅”圈粉无数，目前粉丝数已经达到了40多万。

        创新创意不只是在新产业中，在传统行业升级的过程中显得更为宝贵。俞光说，自己的目标就是希望能更深入地挖掘中国传统工艺和文化的精髓，同时也会加大探索当下新题材的力度，希望铜工艺品不再是古老、传统、冷门、受众少的代名词，能通过对传统及当代题材的创新，做出更多大家喜欢的作品来。

三

        据中投产业中心预计，至2020年，中国电影衍生品市场规模将超100亿元。市场是有了，但提供的产品却并不令人乐观。

        手机壳、钥匙链、马克杯……一提到衍生品，很多消费者的第一反应都是单调的“老三样”。根据微影数据研究院调查报告，在关注某电影衍生品但最终放弃购买的用户中，有近六成人认为价格太贵，不值得买，有两成人认为产品没创意、不实用或质量差。报告分析，“与过去相比，中国消费者接受在更高质量产品上花更多的钱，期待物有所值。”

        前几年电影《大鱼海棠》的周边开发颇受关注，《三生三世十里桃花》尽管票房失败，但衍生品开发类目广泛，最终入袋3亿元。

        衍生品需要的是创意，更需要持久性。这种创意不只是简单的跨界，需要更多像“铜师傅”这样的文创企业能够架起传统文化与时尚电影之间的桥梁，打破衍生品只是电影宣传品的尴尬。

衍生品不光是贩卖电影的故事、主角的脸，更要有浓烈的中国元素和中国传统文化特色，这样才能获得海内外粉丝的认可与支持。

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.