Dana Delany had long been drawn to the Western genre before she ever stepped onto the set of Tombstone. "I'm a huge fan of the western," she once said. "I just feel like they define America."
Raised in Connecticut, a place not typically associated with cowboy culture, Delany still developed a deep passion for Western films. She admired the work of legendary directors such as Anthony Mann, John Ford, and Budd Boetticher.
Her introduction to the genre came during her time at Wesleyan University. The school was better known for academics than for film or theater, but it had an impressive film studies program.
"I took a course on western films," Delany recalled. That was where she first saw My Darling Clementine, John Ford's take on the Wyatt Earp story. It instantly became one of her all-time favorite films.
Although Tombstone marked her first experience working on a Western, Delany had already explored period dramas early in her career. She made guest appearances on soap operas and episodic television before landing a role in Liberty, a 1986 television film about the construction of the Statue of Liberty.
The opportunity resonated with her because of her Irish heritage. She played Moya Trevor, a newly arrived immigrant, in a script written by Pete Hamill, who was known for his deep Irish roots in storytelling.
Her personal connection to the story ran deep. Her grandfather, John Delany, was born in Brooklyn in 1885, before the Statue of Liberty was even completed.
Delany had previously performed in Aife, an Irish play on Broadway, which required her to master an Irish accent. Determined to secure the role in Liberty, she took matters into her own hands.
"I don't think they had me in mind for it, but I was determined, so I flew to Baltimore, auditioned, and got the part," she said.
She found the experience rewarding, particularly working with director Richard Sarafian, best known for Man in the Wilderness and Vanishing Point. The cast included several young actors who later became major stars, such as LeVar Burton, Angela Bassett, Carrie Fisher, and Chris Sarandon.
Over the next several years, Delany took on diverse roles. One of her most notable was Colleen McMurphy on ABC's China Beach, a role that earned her two Emmy Awards over the show's five-season run.
When she first read the script for Tombstone, she immediately felt a connection to her character, Josephine Marcus. "I thought, this is me," she recalled with laughter. Friends even asked her if the role had been written specifically for her.
"I've actually said some of these lines before," she added, referring to one of her character's most memorable quotes about room service.
Wyatt Earp once asked Josephine Marcus what her idea of heaven was. Without hesitation, she replied, "Room service."
Josephine was a woman who embraced excitement. As an actress, she sought adventure and was drawn to men who lived daring lives. She had a passion for singing and dancing, but beyond that, she carried herself as an equal to the men around her while fully embracing her femininity. Her dynamic personality made her a compelling and well-rounded character.
The role was not originally written for Dana Delany. It was intended for Lisa Zane, a talented actress who was dating writer and director Kevin Jarre at the time. Lisa bore a strong resemblance to the real Josephine Marcus and had the skill to bring the character to life. She 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. As a result, the role was opened up, and Delany ended up landing the part. She acknowledges that Lisa Zane would have done an excellent job, but she was thrilled to have the opportunity.
When Delany first met with Kevin Jarre, his passion for the film was immediately evident. The project had already assembled an incredible cast, which made it even more appealing. Having always loved westerns, Delany was eager to be involved, especially since it meant working with Kurt Russell, one of her longtime idols.
She had previously met Russell while filming HouseSitter with his longtime partner Goldie Hawn, but getting to act alongside him was a dream come true. Delany had admired him since childhood and still held great respect for him as both a performer and a person. 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. Delany had worked with him before in a small benefit production of The Comedy of Errors. During Tombstone, she witnessed his dedication firsthand. His father had recently passed away, and despite his grief, he arrived at the table read fully prepared, already deep into character, complete with his signature prop choices. Watching him work was fascinating.
Delany also had fond memories of Powers Boothe, with whom she later collaborated on True Women. She spoke highly of Billy Zane and John Tenney, who played Sheriff Johnny Behan, Josephine Marcus's other love interest. Tenney remained a close friend long after filming.
She was already acquainted with Stephen Lang and Jason Priestley, and she admired the work of Dana Wheeler-Nicholson, who played Mattie Earp, and Paula Malcomson, who portrayed Allie Earp.
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, Dana Delany embraced the research process, which she considers one of the most rewarding aspects of acting. 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 not only her own image but also 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. Additionally, there is speculation that she may have worked as an actress 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. Despite these historical revisions, the version of Josephine's story that made it into the public consciousness was the one that leaned into the legend.
When Delany was cast as Josephine in Tombstone in 1993, she was already well established in Hollywood. She had recently wrapped up five successful seasons playing Colleen McMurphy on the ABC drama China Beach, a role that earned her widespread acclaim. Her performance on the show won her the 1989 Emmy Award for Best Actress, the first of two she would receive in her career.
Dana Delany'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 experience.
As a child at summer camp, she had a frightening accident when a horse rolled onto her. Unfortunately, she never got back in the saddle afterward, as is often advised. Overcoming that fear for the film was a personal victory, and she took great pride in the progress she made.
Delany credits much of the riding sequences to her stunt double, Terry Garland, who expertly handled many of the more demanding moments. To maintain the illusion, Delany 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 of Josephine Marcus. Delany 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 Delany. Although the 1880s weren't necessarily the most flattering era for women's fashion, the film's costumes reflected the reality of the time.
Jarre believed that Tombstone was more sophisticated than its rugged reputation suggests. Wealthy residents imported their clothing from Paris, making the town far more refined than the dusty frontier settlement many imagine. The costumes were custom-made, intricate, and true to history, works of art in their own right.
Among the many stunning outfits, Delany's favorite was a silver dress she wore in the saloon, nicknamed the screen door dress. While many costumes disappeared after filming, 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. Owning that piece of history remains an honor for her.
The production of Tombstone was famously challenging. Dana Delany believes that when a film shoot is difficult, the final product often benefits. She has observed this pattern repeatedly. Intense, demanding shoots tend to create a certain energy that keeps everyone focused and engaged. In contrast, productions that are too relaxed or enjoyable sometimes result in movies that feel lackluster.
About a month into filming, director Kevin Jarre was dismissed. Whether due to his inexperience or internal conflicts, he had fallen behind schedule. However, he had already directed several of Delany's key scenes, including the dramatic moment when Behan and the Cowboys stopped the stagecoach, discovering Josephine alongside Fabian's lifeless body, murdered for defending her.
That day proved especially difficult. The entire group of cowboys was present, daylight was fading, and they had to film from multiple angles. Delany recalls that they likely didn't capture everything they needed, requiring a re-shoot later. Jarre was also responsible for filming Josephine and Wyatt Earp's fateful first meeting, referred to as the fortuitous scene, as well as 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 for the film. Cosmatos's first day on set was intended to be relatively simple, but for Delany 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 Delany 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 Delany, "Just be fun, just be girly." She remembers thinking, "Oh my God," a reaction to the oversimplified approach to her performance.
Delany recalls that she had to adjust her riding position for the film's equestrian scenes, having not ridden properly since a traumatic accident in her childhood. The intense riding sequences were filmed on Mount Lemmon in the Coronado National Forest just north of Tucson under the direction of George Cosmatos.
In spite of the challenges, Delany 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. Delany doesn't recall any major alterations affecting her character, though she admits she's only seen the final movie once, preferring not to watch herself on screen. Often she 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. With hindsight, she feels she could learn from watching the finished product.
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, Delany 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, Delany suggested "Red River Valley," a nod to one of her favorite westerns, the Howard Hawks classic Red River.
Reminiscing, she mentioned that 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 Dana Delany and Joanna Pacula on their promotional materials.
Delany 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. Delany liked the suggestion, and when she tried it, director George Cosmatos approved.
Later, producer Jim Jacks, who has since passed away, questioned the change. He told Delany that Kevin Jarre was unhappy about it. She explained that she had simply gone with a suggestion given to her on set, not realizing at the time how much it mattered to the original writer.
Reflecting on her experiences making Tombstone, Delany 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, Delany 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, Delany returned to Tucson for Spin, 2003, directed by Jamie Redford, son of Robert Redford, and co-starring Stanley Tucci. The experience was a reminder of how much she enjoys the Arizona landscape. She holds a deep appreciation for Tucson, Old Tucson Studios, and the surrounding region, which still holds a special place in her heart.
Four years after Tombstone, Delany 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 it was based on the true history of Janice Woods Windle's family. Delany portrayed what she believes was Windle's great-grandmother, a part she found deeply fulfilling.
The role offered Delany the opportunity to ride horseback without the constraints of a sidesaddle, and for the first time she was able to carry a gun, a nod to the authenticity of her character. She also enjoyed working with the talented Powers Boothe and, perhaps most notably, True Women marked the only time in her career that she held top billing over Angelina Jolie. At the time, Jolie was only 19 yet already on the path to stardom.
During the production, Delany 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 Delany appreciated, as she trusted the actors and created an environment where they felt comfortable. Tom Neuwirth, Arthur's husband, served as the cinematographer, contributing to the film's aesthetic.
Delany was also joined by Michael Greyeyes, who has since achieved great success in his career. Looking back, she 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 1997, Delany portrayed Sarah McClure in the CBS Western miniseries True Women, starring alongside her Tombstone co-star Powers Boothe, who played her husband Bartlett McClure. Delany spoke fondly of her character as well as Tina Majorino, who played the younger version of Annabeth. She found the story to be compelling, and the final line delivered at a gravesite resonated deeply with her.
When Sarah says, "We endured," Delany 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, Delany 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 Delany portrayed a beautiful rancher's daughter who slowly succumbs to his charm.
Delany found the experience enjoyable, especially since it was her first time in Oklahoma. She noted how one of the perks of acting is the opportunity to explore new places across the country. The summer filming in Oklahoma City was particularly hot, with temperatures consistently around 110 degrees. While Delany 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. Delany shared that the cast initially believed they were working on a serious drama. However, upon attending the premiere in New York, Delany realized it had a comedic edge despite its violent undertones. She appreciated Stallone's approach to the role and the set. According to her, 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, Delany 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.
Delany thought this idea would be a lot of fun, and she even joked about the possibility of working with Kurt Russell once more in such a scenario. She was eager about the opportunity and the fun it would bring.
From the grit and glamour of Tombstone to the contemporary charm of Tulsa King, Delany'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.