Niro to play Sal the pizzeria owner, but De Niro had to decline due to prior commitments. Aiello eventually played Sal and his son Rick played Gary Long, the police officer who kills Radio Raheem. Roger Guenveur Smith, who was pestering Lee for a role in the film, created the character of Smiley, who was not in the original script. Four of the cast members were stand-up comedians: Martin Lawrence, Steve Park, Steve White, and Robin Harris. Samuel L. Jackson was chosen for the role of Mister Señor Love Daddy. Jackson later revealed that he spent much of his time on set sleeping as he has no scenes outside. Lee originally wanted Nunn to play the role of Mister Señor Love Daddy, but later recast him as Radio Raheem. The acting couple Ossie Davis and Ruby Dee, who were friends of Lee's father Bill, were cast as Da Mayor and Mother Sister. Perez was cast as Mookie's love interest Tina after Lee saw her dancing at a Los Angeles dance club. Perez decided to take the part because her sister lived four blocks from the set. She had never been in a film before and became upset during the filming of Radio Raheem's death scene. Filming The film was shot entirely on Stuyvesant Avenue between Quincy Street and Lexington Avenue in the Bedford–Stuyvesant neighborhood of Brooklyn. Production designer Wynn Thomas altered the street's color scheme, using a great deal of red and orange paint to convey the sense of a heatwave. The Korean grocery store and Sal's pizzeria were built from scratch on two empty lots. The pizzeria was fully functional and the actors cooked pizzas in the ovens. During filming, the neighborhood's crack dealers threatened the film crew for disturbing their business there. Lee hired Fruit of Islam members to provide security. Reception Critical reception At the time of the film's release, both Gene Siskel and Roger Ebert ranked the film as the best of 1989, and later each ranked it as one of the top 10 films of the decade ( for Siskel and for Ebert). Siskel described the film as "a spiritual documentary that shows racial joy, hatred and confusion at every turn", while Ebert lauded it for coming "closer to reflecting the current state of race relations in America than any other movie of our time." Ebert later added the film to his list of The