When Dana Delaney read the script for Tombstone, she felt an immediate connection to Josephine Marcus. “I thought this is me,” she later recalled with a laugh, adding that friends asked if the role had been written specifically for her. She even admitted, “I’ve actually said some of these lines before,” referring to one of the character’s most memorable quotes about room service. Delaney has always had a deep appreciation for western films.
“I’m a huge fan of the western,” she once shared. “I just feel like they define America. ” Despite growing up in Connecticut, a place not typically associated with cowboy culture, she developed a passion for the genre by admiring the works of legendary directors like Anthony Mann, John Ford, and Budd Boetticher. Her introduction to westerns came during her time at Wesleyan University, where she took a course on western films.
That course led her to John Ford’s My Darling Clementine, his take on the Wyatt Earp story, which instantly became one of her all-time favorite films. Tombstone marked her first experience working on a western, though she had already explored period dramas earlier in her career. In 1986, Delaney landed a role in Liberty, a television film about the construction of the Statue of Liberty. She played Moya Trevor, a newly arrived immigrant, a role that resonated with her deeply because of her Irish heritage.
Her grandfather John Delaney was born in Brooklyn in 1885 before the Statue of Liberty was even completed. Determined to secure the part, she flew to Baltimore, auditioned, and got the role. The cast included several young actors who later became major stars, such as LeVar Burton, Angela Bassett, Carrie Fisher, and Chris Sandom. Delaney became well established in Hollywood through her role as Colleen McMurphy on ABC’s China Beach, which earned her two Emmy Awards over the show’s five-season run.
When she first read the Tombstone script, she felt destined for the part. Interestingly, the role was not originally written for her. It was intended for Lisa Zane, who was dating writer and director Kevin Jarre at the time. Zane bore a strong resemblance to the real Josephine Marcus and could sing, dance, and ride horses.
However, since Tombstone was Jarre’s first directing project, the studio felt that casting his girlfriend might give him too much influence over the production. The role was opened up, and Delaney ended up landing it. She acknowledged that Zane would have done an excellent job, but she was thrilled to have the opportunity. When Delaney first met with Jarre, his passion for the film was immediately evident.
The project had assembled an incredible cast, and Delaney was especially eager to work with Kurt Russell, one of her longtime idols. She had previously met Russell while filming HouseSitter with his longtime partner Goldie Hawn, but acting alongside him was a dream come true. She praised his generosity on set, describing him as a team player who cared about everyone and never let his star status get in the way. Val Kilmer, who played Doc Holliday, also left a lasting impression.
Delaney had worked with him before in a small benefit production of The Comedy of Errors. During Tombstone, his father had recently passed away, yet despite his grief, he arrived at the table read fully prepared and already deep into character. Watching him work was fascinating. The set of Tombstone had a distinctly masculine energy, with the male actors fully embracing their cowboy roles.
Amid all that intensity, the women in the cast formed their own small support system, creating a sense of camaraderie in an environment dominated by rugged Old West bravado. When preparing to play Josephine Marcus, Delaney embraced the research process. At the time, there was no easy access to online information, so she sought out historical sources the old-fashioned way. She ordered I Married Wyatt Earp, an autobiography attributed to Josephine, and read it voraciously.
The book became her guiding reference for the role. However, as more historical research emerged, it became clear that much of the narrative followed the classic Hollywood approach of shaping the story to fit the legend rather than the facts. Josephine was deeply invested in preserving her own image and Wyatt Earp’s legacy. Over time, it became evident that she had polished certain aspects of her story, portraying events in a more glamorous light.
Contrary to her claims of coming from a wealthy San Francisco family, records suggest she had a far more modest upbringing. There is also speculation that she may have worked as a courtesan and left home as a teenager, making her way southwest. Evidence also indicates that she was acquainted with Johnny Behan before meeting Wyatt and may have been financially supported by him. Delaney’s horseback riding in Tombstone was particularly striking, especially in the scene where she races Kurt Russell while riding sidesaddle.
However, her equestrian skills didn’t come naturally. She was cast late in the production process and had little riding experience, let alone sidesaddle. As a child at summer camp, she had a frightening accident when a horse rolled onto her, and she never got back in the saddle afterward. Overcoming that fear for the film was a personal victory, and she took great pride in the progress she made.
Delaney credited much of the riding sequences to her stunt double Terry Garland, who expertly handled many of the more demanding moments. To maintain the illusion, Delaney rode normally while wearing long skirts, and the costume department crafted a fake leg to make it appear as if she was sitting sidesaddle. The film’s costumes played an equally important role in shaping her portrayal. Delaney has always felt a connection to past eras, and wearing the elaborate period clothing helped her step into character.
The wardrobe in Tombstone remains one of the most historically accurate she has ever worn. Joseph Porro, the film’s costume designer, created pieces so authentic they could belong in a museum. Director Kevin Jarre was adamant about historical accuracy, down to commissioning a custom-made corset for Delaney. Jarre believed that Tombstone was more sophisticated than its rugged reputation suggests, with wealthy residents importing their clothes from Paris.
Among the many stunning outfits, Delaney’s favorite was a silver dress she wore in the saloon, nicknamed the screen door dress. She was fortunate to keep one treasured piece: the black velvet cape she wore in the dramatic rain-soaked scene where she calls out for Wyatt in the middle of the street. The production of Tombstone was famously challenging. Delaney believes that when a film shoot is difficult, the final product often benefits, as intense demanding shoots create a certain energy that keeps everyone focused.
About a month into filming, Kevin Jarre was dismissed, whether due to inexperience or internal conflicts, as he had fallen behind schedule. However, he had already directed several of Delaney’s key scenes, including the dramatic moment when Behan and the Cowboys stopped the stagecoach, discovering Josephine alongside Fabian’s lifeless body. That day proved especially difficult, as the entire group of cowboys was present, daylight was fading, and they had to film from multiple angles. Jarre was also responsible for filming Josephine and Wyatt Earp’s fateful first meeting and various sequences on horseback in the mountains.
After Jarre’s departure, there was a brief period without a director. During this uncertain time, Kurt Russell took on the role of morale booster, encouraging the cast and crew to push forward. Eventually, George Cosmatos was brought in to take over. Transitioning to a new director was difficult, as he needed to establish his authority and vision.
Cosmatos’s first day on set was intended to be relatively simple, but for Delaney it was anything but. His first assignment was to direct her most significant scenes, including the intimate love scene in the field with Russell. She felt as though the production prioritized these moments early on just to get them out of the way, which she found unfair. Looking back, she wishes she had advocated for herself more that day.
Cosmatos’s direction to Delaney was minimal, reminding her of an infamous moment between Laurence Olivier and Marilyn Monroe. Olivier had once dismissed Monroe’s acting concerns by saying, “All you have to do is be sexy, dear Marilyn. ” Similarly, Cosmatos told Delaney, “Just be fun, just be girly. ” She remembers thinking, “Oh my God,” reacting to the oversimplified approach to her performance.
Despite the challenges, Delaney grew to appreciate working with Cosmatos. She sensed that beneath the pressures he faced, he was a very sensitive individual who truly wanted to create a remarkable film. While opinions about him may differ, in her view he genuinely cared about the project. During production, writer John Fasano was brought in to trim the script, which led to significant changes for several key male roles.
Delaney doesn’t recall any major alterations affecting her character, though she admits she has only seen the final movie once, preferring not to watch herself on screen. She often finds herself thinking about how she might have approached her scenes differently, especially since many of her important scenes were shot in just one day. Even though Kevin Jarre was no longer on set, he still offered his opinions on the changes being made. He was particularly displeased with two modifications.
One concerned the song choice. Originally, Delaney was to sing “Frankie and Johnny,” which Jarre believed was more period appropriate. However, George Cosmatos wasn’t fond of that selection, and since it was a challenging song to perform, Delaney suggested “Red River Valley,” a nod to one of her favorite westerns, Howard Hawks’s classic Red River. Her father and she used to sing that song together, and Cosmatos agreed, allowing her to perform it as a heartfelt tribute to her father.
Most American movie posters for Tombstone highlighted the film’s central male characters, the Earp brothers and Doc Holliday. However, some international distributors, including those in Turkey, took a different approach by featuring Delaney and Joanna Pacula on their promotional materials. Delaney also revealed a small but significant change in the script that had not been widely discussed before. In her first scene, when Josephine steps off the stagecoach and spots Wyatt Earp in the distance, she delivers the now-iconic line, “Who is that tall drink of water?
” followed by “I want one. ” While Kevin Jarre originally wrote “I want one,” the first part of the line was different in the script. The original dialogue had Josephine asking, “Who is that tall man over there? ” They filmed it that way, but someone on set suggested she describe him as a tall drink of water.
Delaney liked the suggestion, and when she tried it, Cosmatos approved. Later, producer Jim Jacks questioned the change, telling Delaney that Kevin Jarre was unhappy about it. She explained that she had simply gone with a suggestion given to her, not realizing at the time how much it mattered to the original writer. Reflecting on her experiences making Tombstone, Delaney shared some of her favorite memories.
She was particularly impressed by production designer Catherine Hardwicke, whose detailed and immersive sets added authenticity to the film. The two became friends and remain close. Another fond memory involves Sam Elliott, who, beyond his iconic voice and screen presence, turned out to be an exceptional two-step dancer, embodying the grace and charm of an old-fashioned cowboy. Looking back, Delaney believes Tombstone has gained a stronger reputation over time.
While her performance initially received mixed reactions, she has since noticed a shift. Today she often gets compliments from fans. She even recognizes patterns in how people respond to her work: men usually approach her to talk about Tombstone, while women bring up Desperate Housewives. Years after filming Tombstone, Delaney returned to Tucson for Spin, a 2003 film directed by Jamie Redford, son of Robert Redford, and co-starring Stanley Tucci.
The experience reminded her of how much she enjoys the Arizona landscape. She holds a deep appreciation for Tucson, Old Tucson Studios, and the surrounding region. Four years after Tombstone, Delaney took on a lead role in a western miniseries that shifted focus to women pioneers, offering a contrast to the male-centered narrative of Tombstone. She was thrilled to see the roles reversed.
True Women told a story of how women helped settle Texas and was based on the true history of Janice Woods Windle’s family. Delaney portrayed what she believes was Windle’s great-grandmother. The role offered Delaney the opportunity to ride horseback without the constraints of sidesaddle, and for the first time she was able to carry a gun, a nod to the authenticity of her character. True Women also marked the only time in her career that she held top billing over Angelina Jolie, who was only 19 at the time yet already on the path to stardom.
During production, Delaney also met Annabeth Gish, with whom she formed a lasting friendship. The series was directed by Karen Arthur, a former dancer and actress who transitioned into directing. Arthur’s approach was one Delaney appreciated, as she trusted the actors and created an environment where they felt comfortable. Looking back, Delaney feels that if the series were made today, some elements of the storyline might be revised, particularly the romantic subplot between the Indian and the white woman.
It is a trope that in retrospect seems dated and somewhat clichéd. In the 1997 western miniseries, Delaney portrayed Sarah McClure, starring alongside her Tombstone co-star Powers Boothe, who played her husband Bartlett McClure. The final line delivered at a gravesite resonated deeply with her. When Sarah says, “We endured,” Delaney believes it perfectly encapsulates the strength of women in the West who faced incredible hardships.
The line left a lasting impact, reflecting the perseverance of pioneering women. Later in her career, Delaney starred opposite Sylvester Stallone in Tulsa King, a contemporary western series. Stallone played a paroled gangster from New York who was exiled to Oklahoma, while Delaney portrayed a rancher who slowly succumbs to his charm. Delaney found the experience enjoyable, especially since it was her first time in Oklahoma.
The summer filming in Oklahoma City was particularly hot, with temperatures consistently around 110 degrees. While Delaney didn’t mind the heat, she joked that Stallone may not have enjoyed it as much. Tulsa King was produced by Taylor Sheridan, known for his work on Yellowstone, and Delaney shared that the cast initially believed they were working on a serious drama. However, upon attending the premiere in New York, Delaney realized it had a comedic edge despite its violent undertones.
She appreciated Stallone’s approach to the role and the set, noting that he was always prepared, enthusiastic, and eager to work, arriving early every day and loving what he did. When asked about returning to the western genre, Delaney expressed her enthusiasm, saying she’d jump at the chance to play another western character. She even envisioned herself playing an older version of Josephine Marcus with a braid down her back, living in a mining town with Wyatt Earp. She imagined their relationship as one of those classic married couples who squabble around the campfire before he heads off to Hollywood.
Delaney thought this idea would be a lot of fun and joked about the possibility of working with Kurt Russell once more in such a scenario. From the grit and glamour of Tombstone to the contemporary charm of Tulsa King, Delaney’s versatility shines through in every role she takes on. Her passion for these stories is unmistakable, and her dedication to bringing the untold stories of women in the West to life continues to inspire.