“道具大王”追梦记

严粒粒

俗话说，北有北漂，南有横漂。

改革开放40年，中国文化产业经历了从无到有、从大到强蜕变。在这过程中，伴随东阳横店“中国好莱坞”的名声鹊起，90年代末诞生的“横漂”一词，至今仍充满生命力。

“道具大王”朱冬青，已经“横漂”了18年。今天，你如果在横店影视圈喊出他的名字，几乎无人不知。相比在台前闪闪发光的明星，他选择坚持自己的木雕老本行。沐浴着改革开放的春风，他经历着变化，也受益于变化。

在他工作室的抽屉里，锁着一本老旧的笔记本，封面写着“业务来往剧组”。《鸡毛飞上天》《潜伏》《战长沙》……密密麻麻的影视剧名称记了一页又一页。本子记录了朱冬青的事业，也记录了横店的发展。

时到今日，要是还觉得所谓横漂就只是演员，那就太低估了横店的“肚量”。从群众演员，到服装、化妆、道具师傅甚至服务员、厨师，“横漂”的概念因城镇变迁而不断拓展，包容着从四面八方聚集到此的“追梦人”。

敢闯：外面什么样，我当然要去看看

制作公司、经纪公司、道具公司……整个横店，长长短短的街道上布满了与影视相关的大大小小的店铺。大智街上，朱冬青开的“朱仔道具工作室”，是全镇第二家道具店。

拉开旧木抽屉，一本泛黄的册子案前铺开。朱冬青把他近20年来曾参与制作道具的影视剧的名称，工工整整地记了数十页。

论创业史，当地上世纪90年代末兴起的影视产业是他的起点。论奋斗史，朱冬青呡一口茶，目光渐深：“那要从更早的时候说起。”

改革开放，说到底就是为了老百姓的日子越过越好。

一个猛子扎进历史的大潮，“开眼看世界”，是改革开放之初，人们最强烈的需求。“他们能闯，我也能闯。外面什么样，我当然要去看看。”朱冬青到了年轻气盛的年纪，渴望干一番大事。论吃饭的本事，东阳木雕自古闻名全国。凭着跟父亲学了多年的木雕手艺，原属东阳的磐安人朱冬青胸有成竹。

“东西南北中，发财到广东”。上世纪80年代，一句顺口溜传遍神州大地，激荡着无数打工者南下淘金的雄心。1992年正月，19岁的朱冬青踏上了南下路。

那是朱冬青记忆里最艰难的一次出行。“车厢的过道、厕所全是扛着草席、卷着被子的人。挤到只要我脚一抬，下一脚就没地方放。睡在座位底下，都算最舒服的位置了。”就这么挤了三天两夜，朱冬青“感觉挤瘦了一圈”。

轟隆的火车向南疾行，驶向广东，驶向未来。

朱冬青被老乡带进了广东德庆一家东阳人开的厂子工作。那时候的快乐简单得很：老家的香蕉贵，广东便宜，可以一天吃一串；大大的城市，哪里都有老乡，不上工的时候可以到处跑到处玩；钱赚得多了，每次过年回家都能给家人捎去最时髦的礼物，长面子；早就过了读书的年纪，还学会了一口流利的广东话……

改革开放也解放了人们的思想。当时，远在广东的打工仔朱冬青以为这样已经算是过上了好日子。他还不知道，生活即将再次改变——在磐安的隔壁，跻身浙中地区首个工业产值“亿元镇”的东阳横店，此时正在酝酿一件意义重大、理念超前的大事。

敢做：看到哪座山高，就想爬哪座

时间飞转，中国迈入新世纪。浙江也加快了前进的步伐。

据2000年《人民日报》3月25日和8月4日的报道：“（浙江）全省已有441家集体和私营企业获得进出口经营权……跨出国门办厂办市场，成为浙江产业转型的新景观”；“浙江经济保持了较快的增长态势和较强的区域活力，国民经济几项主要指标都高于全国平均水平。”

发展的劲头，就是百姓的奔头。“在外面打工那么多年，说到底还是外来人，没有归属感。”马路宽了，工厂多了，生活好了……当家乡传来越来越多的好消息，朱冬青感觉到“是时候回去了”。

2000年夏天，朱冬青带着打工时认识的妻子，背上返乡的行囊。此时此刻，横店已经和过去大不一样。

上世纪末，在国外引发浪潮的“文化产业”在国内尚属新鲜事。靠着工业积累起“第一桶金”的横店人却开始思考“文化力”的可能性。

1996年是横店打响“中国好莱坞”品牌的元年。这年，谢晋执导的迎接香港回归的献礼片《鸦片战争》的拍摄基地定在这里。2000年，身处国内多个影视基地激烈竞争中的横店影视城决定执行“免场租政策”。此举几乎降低了影视制作成本的三分之一。随之而来的是，剧组接待数量暴涨，横店成为国内最大的影视拍摄基地，继而为影视旅游业铺就了一条好路子。

机会总是留给有眼光的人。横店跳出框框，走了城镇可持续发展的新路。朱冬青又何尝不是。

“横店镇上现在可时髦啦，都在拍电影电视。要是喊你做道具，去不去？”刚回家，亲戚就急着上门介绍新活。为了谋生，也因为好奇，朱冬青毫不犹豫地选择拥抱机会。

根据古龙小说改编的电视剧《飞刀问情》，是他参与道具制作的第一部影视剧。2003年上映时，英俊小生焦恩俊饰演的“小李飞刀”李寻欢成了万千少女的梦。一同造梦的，还有朱冬青——他负责为假树绑上枝桠、花朵。一天报酬40元，并不算高，甚至赶不上在广东时的工钱。

“做人和做事最重要的是一不要怕吃亏，二不要怕吃苦。我那时不过是一个新人，就该‘交学费学东西，不要计较那么多。”他把目光放得长远。

不会就学，不懂就问。那段时间，剧组总会问“有人做泡沫雕刻吗”。以前刻的是木头，现在刻的是泡沫，不熟练，朱冬青就少收点钱，边刻边学。

剧组也经常喊“有人会写字画画吗”。以前写字不算好看，自从发现剧组普遍需要这项技术，朱冬青就勤学苦练。每天晚上刷牙前，一手拿着牙杯，一手拿毛笔沾水练，一练就是个把小时。

有一次，一个剧组晚上着急找美工给宫殿门梁画云纹。苦练画工多时的朱冬青觉得自己应该能够胜任，便毛遂自荐，在四五米高的脚手架上一手挂着柱子保持平衡，一手伸出去画画，从晚上七点半开始，目不转睛、全神贯注地一直画到第二天下午四点半才收工，工时费算上加班费不过100元。制片人看见，不禁大赞。他想不到一个普通工人，竟拿得起刻刀也拿得起画笔。

功夫不负有心人。此后，无论道具组还是美术组，几乎没有什么事难得倒朱冬青。“疑难杂症找朱仔”，这句话在横店影视剧组里里口口相传。

“2006年拍《龙门驿站》，是香港明星张智霖演的。我还做了他的手替，电视上他给心上人画的画像，都是我在画呢！”朱冬青爽朗的笑中透着骄傲。

生活本可以平淡。是什么让一个人选择坚持不懈地进步，成为更好的自己？

眼前这位身材并不健硕、两鬓略微斑白、脸上已经显露出风霜沟壑的中年人，用坚定的语气袒露着信念：“我最看不起的就是光是嘴上有‘梦却吃不起苦头的人。只要我知道哪里有座山，我就一定要爬上去。”

敢做敢为的基因，流淌在浙江人的血液中。朱冬青的打工记，是早年浙江人的缩影。“块阜之山，营宇狭小”。浙江是国土面积最小的省份之一，且“七山一水两分田”，向来不占地利。靠着“走遍千山万水、吃遍千辛万苦、想尽千方百计、说尽千言万语”的精神，浙江人才能打遍天下。

短短几年，朱冬青已经成为剧组“红人”。很快，随着横店影视产业的蓬勃发展，朱冬青的业务量剧增。很快，他面临一个新的选择。

敢当：做生意不是一天两天，要坚持

创业者的名字，在开放初期叫做“个体户”，中期叫做“合伙人”，如今叫做“创客”。2015年全国“两会”之后，“大众创业、万众创新”更上升到了国家战略层面。40年来，一拨一拨的弄潮儿前赴后继，在历史的波澜中迸发着惊人的创造力。

作為一个“生存型”创业者，朱冬青最开始动起创业念头，很大程度上是来自他人的劝导。

做好自己，贵人自来。“年轻人不要总想着打工，要做老板，要创业！”给朱冬青传授经验的人叫做马纲。这位开厂做大生意、全国各处跑的影视制作商人，真心希望这个相识多年、技术过硬、老实肯干的“小老弟”能够“给自己打工”。

朱冬青拒绝了很多次，马纲仍耐心说服：“如果怕不稳当，我就把横店几百平方米的道具库分出一块，给你做免费道具展示，试试手。”

“命运掌握在自己手里最踏实。”面对朋友的好意，静下来的时候，朱冬青开始思考做老板的可能性。

2007年，横店影视产业开始扬名国际：美国好莱坞杂志将横店称为“东方好莱坞”。同年，朱冬青获得“朱仔道具工作室”个体户营业许可证。原本只有粮油副食品小店的大智街，开出了第一家道具店。

“朱仔道具工作室”接的第一个大型道具制作业务，是为横店影视城的标志性大型实景演出《梦幻太极》制作数十套道具。要想拿到项目，需要参加投标。和朱冬青一起竞标的，还有两家公司。

“影视城要求我们制作完成一套结实、会发光的荷花灯和马鞭。”这是一个时间紧迫、难度极高的任务。得知承包方要在三天内负责画图、设计、找材料、制作，其中一家当时已经颇有名气的道具行当即选择退出。朱冬青咬咬牙接下了任务，连夜加班，终于按时应标，并报了相当合理的价格。

一天，两天，三天……几天过去，没有消息传回。又听说竞争方有“路子”，朱冬青心里不免有些打鼓。又过了几天，朱冬青接到一个电话，喊他去接受投标结果。

那天，很多部门的领导都在。朱冬青记得，他和另一位竞标者的作品，铺陈在影视城负责人办公室的地上：他这一边的荷花灯灯骨用铁丝撑起，花面包裹的是韧劲、透度极好的布，花的内芯装的是亮度极高的LED灯；另一边的荷花灯竟是纸糊的，灯芯也不亮。马鞭更不用说，朱冬青的是用牛皮层层缠绕，打开开关，就算往地上甩都能亮，而另一方竟然拿了树枝裹着布糊弄。

“看到没有？哪个好哪个坏，清楚吗？”影视城负责人指着道具，对在场所有人说。听罢，朱冬青挺了挺腰杆。

接下来的一年时间，朱冬青夫妇为所做道具提供24小时保修。《梦幻太极》每天晚上8点开演，10点结束，前后都需要检查道具。无论刮风下雨、酷热严寒，他们必定提着工具箱出现在现场。黑漆漆的山路上，摩托车突突地开，寒冷的风刮过脸颊。当时一同帮忙的老友打趣：“我们可能是全国最穷的老板啦！”

生意难做。为店租烦恼，为成本发愁，朱冬青也有感觉撑不下去的时候。幸好每每心情失落，就有朋友鼓励：“做生意不是一天两天，要坚持住！”

店里被剧组骗过租借费、被小偷偷过……多年来，即便是最艰难时，朱冬青仍一直坚持底线：“做生意最重要的是讲信用、实在，不能想着偷懒、占便宜！”

如果说，务实坚守是大小浙商留在骨子里的珍贵品质，那么求新求变，则意味着他们善于对时代变化作出灵敏反映。

“我这里有数万件抗战时期的武器装备，包括发报机、电台监听机、唱机等等。老式照相机有40多台，电台也有20余部。”为了保证“真实”效果，北京潘家园、上海城隍庙、天津古玩城……朱冬青开始去全国各地收购古董，至今花费上百万元。老家磐安还有人找上门，希望为他开一个道具博物馆。

有时根据剧组要求，朱冬青也会上手改造。比如，给发报机装上电池，灯会亮，天线会转，租费就能从一天50元涨到100元；给老式照相机装上灯泡，剧组租去“闪”一下，就收35元。

为了拓展业务，去年朱冬青和合伙人投资百万元购买了跟拍车。车上装了最先进的车载摇臂拍摄系统——俄罗斯臂，能够满足多角度、高清晰的拍摄。

创新、踏实、精专。“朱仔工作室”的口碑就这样打出来了。目前，朱冬青已经与上千个剧组合作过，就连上海歌剧院、湖南卫视等外地单位都慕名而来。

而朱冬青的生活，也默默地换了轨道：2000年，朱冬青夫妻还借住在老房子里，2011年已经买了两块地，盖了两套房；2009年，代步的车子从摩托车变成汽车，2015年，汽车从一辆变成两辆；2007年，事业还没上轨道，大女儿只能在磐安做留守儿童，近两年，女儿不仅能接到身边，家里还添了一个儿子……接下来，做一部大电影的计划也已经排上了日程。

拉上舊木抽屉，朱冬青合上那本记录着剧组名字的册子。他知道，册子里的名单会变得越来越长，说不定还得再记一本。

问他：“现在是过上好日子了吧！”

他说：“认真干活，日子自然就好过咯！”

Self-Made Prop Master Prospers in Hengdian

By Yan Lili

Zhu Dongqing has been in filmmaking property business in Hengdian for 18 years. A notebook in his office records his career development in Hengdian， a filmmaking cradle and powerhouse which is somehow considered Chinas Hollywood. In his career in Hengdian， he has taken part in numerous film and television productions and his credits include some best known television dramas.

It is said that Beijing in the north and Hengdian in the south are two places that offers biggest allures to dreamers. Hengdian attracts more than filmmaking professionals. It also pulls in amateur actors， costume designers， makeup artists， and property masters， even chefs and waiters， a great variety of people which a filmmaking project needs.

The year 1996 marked the beginning of the Chinese Hollywood. Director Xie Jin was going to make a film titled to mark the return of Hong Kong to the motherland in 1999. A lot of filmmaking bases in the country vied each other for the honor of hosting the filmmaking. Hengdian Studios offered something Director Xie Jin found irresistible： all the sites in Hengdian were offered for use free of charge. The free use of the locations in Hengdian could cut down the one third of the budget. This new policy made a sensation in the countrys filmmaking industry. Production teams flocked in and Hengdian boomed into the countrys biggest filmmaking attraction.

Opportunity came to knock on the door of Zhu Dongqing. He grew up as a woodcarving craftsman in Panan in central Zhejiang. In 1992， he followed the trend to Guangdong which was the biggest place to make money for ordinary job hunters. He spent eight years there. In the summer of 2000， he came back to Zhejiang with his wife， a woman he met in Guangdong and married. Shortly after the couple was at home， a relative came to visit them and asked if they wanted to make props for production teams in Hengdian. Zhu Dongqing did not hesitate.

Zhu learned fast and picked up technical know-how fast. Among the jobs he did， he installed branches and flowers onto fake trees. After learning a production team wanted to find an expert to make plastic carving， he offered to do the job. He didnt know how to carve plastics， but he was a woodcarving craftsman and learned the plastic carving fast. He found that production teams often wanted an artist on the spot. He practiced calligraphy and painting. One night， a production team wanted an artist to paint cloud patterns onto the door of a palace. Zhu Dongqing offered to do it. He started working on the scaffold at seven thirty in the evening and wrapped up the job at four thirty in the next afternoon. He was paid only 100 yuan for the job， but the producer marveled at Zhu Dongqings versatility. After this painting stunt on the palace door， another door opened for him. His reputation spread in Hengdian. Whenever a production team ran into a difficulty it badly needed to solve quick， it turned to Zhu as the go-to guy.

In 2007， he set up his own property studio. The idea came from Ma Gang， a producer. Ma hoped that Zhu， an experienced property master who had worked with Ma for many years， could establish himself for a better business opportunity. Ma hesitated for a long while. Ma offered something irresistible. He said Zhu could exhibit his properties free of charge in Mas spacious property warehouse in Hengdian. Zhu made up his mind and set up Zhus Property Studio in Dazhi Street， which was originally full of foodstuff shops. In the same year， a showbiz magazine in America covered Hengdian and called it Hollywood in the east.

His studio participated in bidding for making properties for ， a reality show in Hengdian. Two other bidders were big businesses. He had only three days to make a lotus lantern and a horsewhip. A successful bidder should do everything from drawing a plan， designing， finding materials and making the properties. A well-known competitor withdrew its bid after learning what it was supposed to do. Zhu submitted a whole package. He was a little bit worried because the other competitor had better “”. After a few days， Zhu was informed to attend the bid opening. It was in the office of a department boss of Hengdian Studios. The two bidders samples were on the floor. Zhus lotus lantern had a solid wire structure inside， a very strong fabric covering， and the LEDs that shone brightly. The lotus lantern made by the competitor was a paper piece and the lamps inside did not work at all. Zhus horsewhip was wrapped up with layers of cowhide and the tiny lamps inside worked pretty well. The competitors whip was a tree branch wrapped up in cloth. The boss put a rhetoric question to all the managers present： which bidder was better？ Zhu stood straighter and got the contract.

He and his wife made all the properties for the large-scale show. They did all the maintenance work day in day out for a year. The show started at eight oclock in the evening and ended at ten. The couple did their maintenance work before and after the show. The couple rode a motorbike to and from the venue every evening. They were jokingly called the poorest and sorriest bosses in the world.

Now Zhus business thrives. He owns a big warehouse himself. In his collection are several tens of thousands of old-time weapons and other equipments used in Chinas war of resistance against Japanese aggression in the 1930s and 1940s， including 40 plus telegraph transmitters， radio listening devices， gramophones， and 20 vintage cameras. He has spent a million yuan purchasing such antiques and has searched antique markets in Shanghai， Beijing and Tianjin. In 2017， Zhu and his partners bought an insert car with a cutting-edge Russian arm for a million yuan.

Zhu is now known for being innovative， down-to-earth and professional and has worked with more than one thousand filmmaking production teams including heavyweights such as Shanghai Opera House and Hunan Satellite TV.

Zhus life has changed dramatically. In 2000， the couple stayed in a rented house and their daughter was left home to the care of his parents. In 2011， the couple bought two properties and had two houses built. In 2009， they bought their first automobile. In 2015， they had another. Now the daughter lives with them and the couple has a son. Right now on the top of their business agenda is a prop project for a big-investment film.