The Novel of the Film (novelisation): Difference between revisions

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'''''Doctor Who - The Novel of the Film''''' is a [[Gary Russell]] novelisation of the [[1996]] TV movie, ''[[Doctor Who: The TV Movie|Doctor Who]]'', which was published in conjunction with the film's broadcast in the United States, Canada and Great Britain.  Though for copyright purposes known as simply '''''Doctor Who''''', the book has a cover which sends somewhat ambiguous signals about its title.  On the front cover it's ''Doctor Who'', but on the spine, it's ''Doctor Who - The Novel of the Film''.   
'''''Doctor Who - The Novel of the Film''''' is a [[Gary Russell]] novelisation of the [[1996]] TV movie, ''[[Doctor Who: The TV Movie|Doctor Who]]'', which was published in conjunction with the film's broadcast in the United States, Canada and Great Britain.  Though for copyright purposes known as simply '''''Doctor Who''''', the book has a cover which sends somewhat ambiguous signals about its title.  On the front cover it's ''Doctor Who'', but on the spine, it's ''Doctor Who - The Novel of the Film''.   


The book was significant for a number of reasons. It was the premiere release of a ''Doctor Who'' novel by [[BBC Books]], which would completely take over the ''Doctor Who'' publishing license from [[Virgin Publishing|Virgin]] by late [[1997]]. It was also the first novelisation not appearing under the [[Target Books|Target]] or Virgin labels, and the first novelisation to be completed ''before'' the filmed version was.  That it had to be written so early created certain contradictions in the text, especially in terms of the physical description of some of the minor characters. It also made it one of the few ''Doctor Who'' novelisations to be in [[British]] shops well prior to the debut of its episode on [[BBC One]].   
The book was significant for a number of reasons. It was the premiere release of a ''Doctor Who'' novel by [[BBC Books]], which would completely take over the ''Doctor Who'' publishing license from [[Virgin Publishing|Virgin]] by late [[1997]]. It was also the first novelisation not appearing under the [[Target Books|Target]] or Virgin labels, and the first novelisation to be completed ''before'' the filmed version was.  Its tight publication schedule meant that Russell wrote it with, as he put it in his foreward, "precious little visual reference".  For this reason, the novel contains, as Russell predicted, things which "differ from what we all see on screen".  This is especially true of some of the physical descriptions of the minor characters, which reveal Russell had clearly not seen the movie.  
 
The book is further significant for being one of the few ''Doctor Who'' adaptations to be in [[British]] shops well prior to the debut of its parent episode on [[BBC One]].   


==Publisher’s Summary==
==Publisher’s Summary==
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According to the introduction of the book, Russell wrote the adaptation based upon the screenplay, without having seen the finished product. As a result the novel contains a number of differences from the movie.
According to the introduction of the book, Russell wrote the adaptation based upon the screenplay, without having seen the finished product. As a result the novel contains a number of differences from the movie.
*Grace and Chang Lee's back stories are explored in greater detail than in the TV movie.
*Grace and Chang Lee's back stories are explored in greater detail than in the TV movie.
*The first chapter and a half goes into more detail about aspects of the TARDIS and how and why the Doctor got the Master's remains.
*Dr. [[Salinger]] is depicted as at least somewhat romantically attracted to Grace, offering to take [[Brian (Doctor Who)|Brian's]] place after he ends his relationship with Grace.
*The first chapter and a half goes into more detail about aspects of the TARDIS and how and why the Doctor got the Master's remains.  In particular, the early part of the book suggests the [[Seventh Doctor]] has only ''just'' changed the TARDIS interior.  Though possible, there's no on-screen evidence that the interior has been recently changed. Thus, stories in other media have subsequently rejected Russell's notion.  In particular. many [[Big Finish]] audios posit the [[Seventh Doctor]] well-ensconced in the tele-movie's console room.
*Nurses [[Wheeler]] and [[Curtis]] are described somewhat in opposition to how they were actually cast.  In the movie, Curtis is obviously older, and she has more lines in the final cut.  In the book, Russell describes Wheeler as the "senior" nurse.
*The final cut of the movie never quite explains how Chang Lee knows the ambulance driver's name is [[Bruce]], or why he would have been allowed to travel in the ambulance with the Doctor.  There's not even a hint that Lee looked at Bruce's name tag.  The novel, however, suggests a scene may have ended up on the cutting room floor.  In it, the police who arrive at the scene of the shooting interrogate Lee and then determine he he might be of help to the paramedics.  A policeman introduces Lee to the paramedic, who introduces himself as "Bruce Gerhardt".
*Russell envisaged something a bit different for the scene in which the the Eye of Harmony projected the images of the old Doctor and the new Doctor.  He posits that Lee and the Master don't just see the [[Seventh Doctor]], but ''all seven'' previous Doctors.
*During the final battle between the Master and the Doctor, the Master leaves Bruce's body and becomes a bleached silhouette of a man.  
*During the final battle between the Master and the Doctor, the Master leaves Bruce's body and becomes a bleached silhouette of a man.  
*The book does not end with things messing up again in the TARDIS, instead the Doctor ponders over where to go next, hoping for somewhere exciting or at least a place with a good pot of tea.
*The book does not end with things messing up again in the TARDIS. Instead the Doctor ponders over where to go next, hoping for somewhere exciting or at least a place with a good pot of tea.


==Author, Writing and Publishing Notes==
==Author, Writing and Publishing Notes==

Revision as of 15:35, 15 January 2010

Doctor Who - The Novel of the Film is a Gary Russell novelisation of the 1996 TV movie, Doctor Who, which was published in conjunction with the film's broadcast in the United States, Canada and Great Britain. Though for copyright purposes known as simply Doctor Who, the book has a cover which sends somewhat ambiguous signals about its title. On the front cover it's Doctor Who, but on the spine, it's Doctor Who - The Novel of the Film.

The book was significant for a number of reasons. It was the premiere release of a Doctor Who novel by BBC Books, which would completely take over the Doctor Who publishing license from Virgin by late 1997. It was also the first novelisation not appearing under the Target or Virgin labels, and the first novelisation to be completed before the filmed version was. Its tight publication schedule meant that Russell wrote it with, as he put it in his foreward, "precious little visual reference". For this reason, the novel contains, as Russell predicted, things which "differ from what we all see on screen". This is especially true of some of the physical descriptions of the minor characters, which reveal Russell had clearly not seen the movie.

The book is further significant for being one of the few Doctor Who adaptations to be in British shops well prior to the debut of its parent episode on BBC One.

Publisher’s Summary

Late December, 1999: the brink of a new millennium. An anachronistic British Police Box materialises in San Francisco's Chinatown amid a hail of bullets which find an unintentional target — a strange man who walks out of the Police Box. Despite the best efforts of Dr Grace Holloway, the unknown traveller dies and his body vanishes. And soon another stranger appears, claiming to be the same man inside a different body; a mysterious wanderer in time and space known only as the Doctor.

But the Doctor is not the only time-traveller in San Francisco. His oldest adversary, the Master, is there as well, desperately trying to steal the Doctor's newly-regenerated body. Before long, the Doctor is faced with a choice: to save his own life, or the billions of people who have no future unless the Master is stopped. If only the Doctor could remember how...

Deviations from the film

According to the introduction of the book, Russell wrote the adaptation based upon the screenplay, without having seen the finished product. As a result the novel contains a number of differences from the movie.

  • Grace and Chang Lee's back stories are explored in greater detail than in the TV movie.
  • Dr. Salinger is depicted as at least somewhat romantically attracted to Grace, offering to take Brian's place after he ends his relationship with Grace.
  • The first chapter and a half goes into more detail about aspects of the TARDIS and how and why the Doctor got the Master's remains. In particular, the early part of the book suggests the Seventh Doctor has only just changed the TARDIS interior. Though possible, there's no on-screen evidence that the interior has been recently changed. Thus, stories in other media have subsequently rejected Russell's notion. In particular. many Big Finish audios posit the Seventh Doctor well-ensconced in the tele-movie's console room.
  • Nurses Wheeler and Curtis are described somewhat in opposition to how they were actually cast. In the movie, Curtis is obviously older, and she has more lines in the final cut. In the book, Russell describes Wheeler as the "senior" nurse.
  • The final cut of the movie never quite explains how Chang Lee knows the ambulance driver's name is Bruce, or why he would have been allowed to travel in the ambulance with the Doctor. There's not even a hint that Lee looked at Bruce's name tag. The novel, however, suggests a scene may have ended up on the cutting room floor. In it, the police who arrive at the scene of the shooting interrogate Lee and then determine he he might be of help to the paramedics. A policeman introduces Lee to the paramedic, who introduces himself as "Bruce Gerhardt".
  • Russell envisaged something a bit different for the scene in which the the Eye of Harmony projected the images of the old Doctor and the new Doctor. He posits that Lee and the Master don't just see the Seventh Doctor, but all seven previous Doctors.
  • During the final battle between the Master and the Doctor, the Master leaves Bruce's body and becomes a bleached silhouette of a man.
  • The book does not end with things messing up again in the TARDIS. Instead the Doctor ponders over where to go next, hoping for somewhere exciting or at least a place with a good pot of tea.

Author, Writing and Publishing Notes

  • Photography for the front cover and rear cover is by Joe Lederer.
  • The cover features a the 'Doctor Who' logo in a silver reflective effect (which is also used on the spine of the novel).
  • The front cover carries the line "He's Back...And It's About Time", a line never used in the TV movie but which became a tagline for many of the products and advertisements associated with the TV movie.
  • The cover design of the first edition is virtually identical to that used for the first VHS release.
  • The novelisation is dedicated to: Terrance Dicks (with the added line "Who made me want to write a Doctor Who novelisation"), Philip Segal and Matthew Jacobs.
  • Author Gary Russell went on to work with the Big Finish audio dramas series, and as script editor for Doctor Who when it returned to telvision in 2005. This makes him one of the few people connected in a major way to the 1996 movie to carry on with the later revival. He would also go on to write for the IDW Doctor Who comic book series in 2007-08 as well as novelisations based upon episodes of The Sarah Jane Adventures.

Audiobook

  • The BBC released an abridged audiobook of this novel on audiocassette, read by Paul McGann. This release is notable for being McGann's first appearance on a Doctor Who audio.

Associated Images

  • Audiobook cover

    Audiobook cover

Publishing History (UK)

International Editions

  • Much like the DVD release of the TV movie, there have been releases of this novelisation outside Britain. In 1996, BBC Books did not have a distribution agreement for North America (unlike Virgin) so it was not made available overseas except by specialist importers, despite the film's strong ties to both the US and Canada. Oddly, though, the novelisation's release date ensured it could spoil the British public's enjoyment of the film. It came out after the North American debut of the film, but over a week before the British one.

See also

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