🔴 Dana Delany and Her Fascinating Story of Tombstone – Cowboy Quotes

Dana Delany’s portrayal of Josephine Marcus in the 1993 film *Tombstone* has become one of the most memorable performances in the modern Western genre. While the movie is best known for its gunfights and legendary lawmen, Delany brought depth and complexity to a woman who stood as an equal beside Wyatt Earp. Her path to that role, however, was shaped by a lifelong love of Westerns, a deep research process, and a production marked by chaos and creative clashes. Delany has long identified with the genre.

“I’m a huge fan of the Western,” she once said. “I just feel like they define America. ” Despite growing up in Connecticut, far from cowboy country, her passion for Westerns took root at Wesleyan University, where she took a course on the genre. It was there she first saw John Ford’s *My Darling Clementine*, a dramatized retelling of the Wyatt Earp story.

The film instantly became one of her favorites, and the genre never lost its hold on her. Long before *Tombstone*, Delany had already explored period projects and historical material. In 1986, she landed a role in the television film *Liberty*, a historical drama about the construction of the Statue of Liberty. She was drawn to the project through her Irish heritage and played Moya Trevor, a newly arrived immigrant.

The script was written by Pete Hamill, known for his deep connection to Irish storytelling. Delany was so determined to earn the part that she flew to Baltimore to audition, despite not believing she was the obvious choice. Her personal history deepened the connection. “My grandfather, John Delany, was actually born in Brooklyn in 1885 before the Statue of Liberty was even completed.

” The production featured a cast of rising actors, including LeVar Burton, Angela Bassett, Carrie Fisher, and Chris Sarandon, and gave Delany her first major ensemble work. Between *Liberty* and *Tombstone*, Delany became a household name through her role as Colleen McMurphy on ABC’s *China Beach*. The part earned her two Emmy Awards during the show’s five-season run and cemented her place in Hollywood. When Delany first read the script for *Tombstone*, she remembers feeling an immediate personal connection to Josephine Marcus.

“I thought, ‘This is me,’” she recalled with a laugh. Friends asked whether the role had been written specifically for her. She even admitted, “I’ve actually said some of these lines before,” referring to Josephine’s now-famous preference for room service. The script was not, in fact, written for her.

The role was originally intended for Lisa Zane, who was dating writer and director Kevin Jarre at the time. Zane was a strong fit for the part—she resembled the real Josephine Marcus and could sing, dance, and ride horses. But because *Tombstone* was Jarre’s first directing assignment, the studio worried that casting his girlfriend would give him too much influence over the production. The role was opened up, and Delany won it.

She has acknowledged that Zane would likely have done excellent work, while also expressing gratitude for her own opportunity. Delany was drawn to the project not only by the script but also by the chance to work with Kurt Russell, whom she had admired since childhood and considered a longtime idol. She had met him previously while he was working with his partner Goldie Hawn, but *Tombstone* gave her the chance to act alongside him. She later described him as a generous team player who never let his star status interfere with the collaborative spirit of the set.

The cast made a deep impression on her. Val Kilmer, who played Doc Holliday, arrived at the table read fully prepared, already deep in character despite the recent loss of his father. She watched his dedication firsthand and found his process fascinating. She also grew close to many of her castmates, including Powers Boothe, John Tenney, and Dana Wheeler-Nicholson, and formed a small support system with the other women on set, who found camaraderie amid the otherwise masculine energy of the production.

To prepare for the role of Josephine Marcus, Delany immersed herself in historical research, which she has always considered one of the most rewarding parts of acting. With no easy access to information online at the time, she ordered *I Married Wyatt Earp*, a memoir attributed to Josephine, and read it voraciously. The book became her guiding reference. Over the years, however, historians have cast doubt on much of that account.

Josephine was deeply invested in shaping her own image and in preserving Wyatt Earp’s legacy. Records suggest she had a far more modest upbringing than the wealthy San Francisco background she claimed. There is speculation that she left home as a teenager, may have worked as a courtesan, and was acquainted with Johnny Behan before meeting Wyatt, possibly with Behan providing financial support. The version of her story that reached the public, Delany notes, leaned heavily into the legend rather than the facts.

Delany’s work on *Tombstone* was physically demanding, especially the riding sequences. She had little experience on horseback, and as a child she had suffered a frightening accident when a horse rolled onto her. She never got back in the saddle afterward. Overcoming that fear for the film was a personal victory.

Her stunt double, Terry Garland, handled many of the more dangerous moments, while Delany rode normally under long skirts with a fake leg crafted to create the illusion of riding side saddle. The costumes also played a central role in shaping her performance. Designer Joseph Porro created historically accurate pieces that Delany said could belong in a museum. Director Kevin Jarre insisted on authenticity, commissioning a custom-made corset for her.

Though the 1880s were not the most flattering era for women’s fashion, the wardrobe reflected the reality of the time. Jarre believed Tombstone was a more sophisticated town than many imagine, with wealthy residents importing clothing from Paris. Among the many outfits she wore, Delany’s favorite was the silver dress she wore in the saloon scene. After filming, most costumes disappeared, but she was able to keep one piece: the black velvet cape she wore in the rain-soaked scene where she calls for Wyatt in the street.

Production on *Tombstone* was notoriously difficult. Delany believes intense shoots often benefit from the pressure, and she has observed that demanding productions keep everyone focused. About a month into filming, however, director Kevin Jarre was dismissed, reportedly due to falling behind schedule. He had already directed some of Delany’s most important scenes, including the stagecoach sequence and Josephine’s first meeting with Wyatt Earp.

After Jarre’s departure, there was a period without a director. Kurt Russell helped keep morale up among the cast and crew. Eventually, George P. Cosmatos was brought in to finish the film.

Transitioning to a new director was difficult, as he needed to establish his authority. For Delany, his first day on set was especially challenging: his first assignment was to direct her most significant scenes, including an intimate love scene with Russell. Cosmatos gave her minimal direction that day. His instruction was, “Just be fun.

Just be girly. ” Delany recalled thinking, “Oh my god,” as she compared the moment to Laurence Olivier’s dismissive advice to Marilyn Monroe. In hindsight, she wishes she had advocated for herself more. Still, she later came to appreciate Cosmatos, sensing that beneath the pressures he faced, he genuinely cared about the project.

Writer John Fasano was brought in to trim the script during production, and several key male roles were significantly reduced. Delany recalls no major changes to her own character, though she admits she has only seen the finished film once, preferring not to watch herself on screen. She often wonders how she might have approached scenes differently, especially since many of her important moments were shot in a single day. Kevin Jarre remained involved in spirit and voiced his displeasure with certain changes.

One concerned the song Delany was to sing. He had intended her to perform “Frankie and Johnny,” which he considered period-appropriate. Cosmatos was not fond of that choice, and because it was a difficult song, Delany suggested “Red River Valley,” a nod to one of her favorite Westerns, Howard Hawks’ *Red River*. She and her father used to sing that song together, and Cosmatos approved it as a heartfelt tribute.

One small but notable alteration became a lasting part of the film’s legacy. In Josephine’s first scene, she steps off the stagecoach and delivers the iconic line, “Who is that tall drink of water? ” followed by, “I want one. ” Jarre had originally written “Who is that tall man over there?

” The change came from a suggestion on set, and Cosmatos approved it after Delany tried it. Later, producer Jim Jacks told her that Jarre was unhappy about the change. Delany explained that she had simply gone along with the suggestion given to her that day, not realizing how much it mattered to the original writer. Reflecting on her time in Arizona, Delany has shared fond memories of production designer Catherine Hardwicke, whose detailed sets added authenticity to the film and who remains a close friend.

She also recalled that Sam Elliott, known for his iconic voice and screen presence, was an exceptional two-step dancer, embodying the grace of an old-fashioned cowboy. Delany believes *Tombstone* has gained a stronger reputation over the years. While her performance initially received mixed reactions, she now frequently receives compliments from fans. She has noticed a pattern in how people approach her: men usually bring up *Tombstone*, while women mention *Desperate Housewives*.

Years after *Tombstone*, Delany returned to Arizona for the 2003 film *Spin*, directed by Jamie Redford and co-starring Stanley Tucci. The experience reminded her of her deep appreciation for Tucson, Old Tucson Studios, and the surrounding region. Four years after *Tombstone*, Delany took on a lead role in the CBS Western miniseries *True Women*, which shifted the focus to women pioneers. She was thrilled to see the roles reversed and portrayed Sarah McClure, based on the family history of Janice Windle.

The part allowed her to ride without side saddle and carry a gun for the first time, and she appreciated working with Powers Boothe and, notably, a young Angelina Jolie, who was only nineteen at the time. *True Women* marked the only time in her career that she held top billing over Jolie. The series was directed by Karen Arthur, a former dancer and actress, whose trust in her actors created a comfortable environment. Delany formed lasting friendships with several castmates, including Annabeth Gish and Michael Greyeyes.

Looking back, she believes some elements of the storyline would be revised if made today, particularly the romantic subplot between a Native American man and a white woman, which she now considers dated. One line from the series stayed with her long after filming. When her character says, “We endured,” Delany felt it perfectly captured the perseverance of pioneering women who faced incredible hardship in the West. In recent years, Delany returned to the Western genre in *Tulsa King*, a contemporary Western series produced by Taylor Sheridan and starring Sylvester Stallone.

She played a rancher who slowly falls for his charm. The summer filming in Oklahoma City was extremely hot, with temperatures near 110 degrees Fahrenheit. Delany said Stallone arrived early every day, was always prepared, and genuinely loved his work. Although the cast initially believed they were making a serious drama, Delany realized at the premiere in New York that the show had a comedic edge beneath its violent undertones.

When asked whether she would return to Westerns, Delany expressed enthusiasm without hesitation. She even imagined reprising the role of Josephine Marcus in a later stage of life, with a braid down her back, living in a mining town with Wyatt and squabbling around the campfire before he heads off. She joked about working with Kurt Russell once more in such a scenario, describing the idea as a lot of fun.