Aside from control interfaces, the bridge set was populated with monitors looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 66 mm film sequences looped for each special effect.  The production acquired 97 films for this purpose from an Arlington, Virginia -based company, Stowmar Enterprises. Stowmar's footage was exhausted only a few weeks into filming, and it became clear that new monitor films would be needed faster than an outside supplier could deliver them. Cole, Minor, and another production designer, Rick Sternbach , worked together with Povill to devise faster ways of shooting new footage. Cole and Povill rented an oscilloscope for a day and filmed its distortions. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. In all, over two hundred pieces of monitor footage were created and catalogued into a seven-page listing. 
By August 9, the production was already a full day behind schedule. Despite the delays, Wise refused to shoot more than twelve hours on set, feeling he lost his edge afterwards.  The director was patient on set bets were placed on when he would finally lose his temper, but pool organizers returned the money when Wise never lost his cool.  Given his unfamiliarity with the source material Wise relied on the actors, especially Shatner, to help ensure that dialog and characterizations were consistent with the show.  While the bridge scenes were shot early, trouble with filming the transporter room scene delayed further work. Crew working on the transporter platform found their footwear melting on the lighted grid while shooting tests.  Issues with the wormhole sequences caused further delays. The footage for the scene was filmed two ways first, at the standard 79 frames per second, and then at the faster 98 frames the normal footage was a back-up if the slow-motion effect produced by the faster frame speed did not turned out as planned.  The shoot dragged on so long that it became a running joke for cast members to try and top each other with wormhole-related puns. The scene was finally completed on August 79, while the transporter scenes were being filmed at the same time on the same soundstage. 
Other actors from the television series who returned include Majel Barrett as Christine Chapel , a doctor aboard the Enterprise and Grace Lee Whitney as Janice Rand , formerly one of Kirk's yeomen and now a transporter operator. David Gautreaux , who had been cast as Xon in the aborted second television series, cameos as Branch, the commander of the Epsilon 9 communications station.  Mark Lenard portrays the Klingon commander in the film's opening sequence he also played Spock's father, Sarek , in the television series and in later feature films. 
The first Star Trek movie models constructed were small study models for Planet of the Titans based on designs by Adam and McQuarrie, but these flat-hulled Enterprise concepts were abandoned when that film was cancelled (although one was later used in the spacedock in the movie Star Trek III: The Search for Spock , and another later appeared in the Star Trek: The Next Generation episode " The Best of Both Worlds "). 
Two weeks later, the entire cast and crew joined with studio executives for a traditional wrap party. [n 7] Four hundred people attended the gathering, which spilled over into two restaurants in Beverly Hills. While much of the crew readied for post-production, Wise and Roddenberry were grateful for the opportunity to take a short vacation from the motion picture before returning to work. 
The computer console explosion that causes the transporter malfunction was simulated using brillo pads. Weldon hid steel wool inside the console and attached an arc welder to operate by remote control when the actor pulled a wire. The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks so effective was the setup that the cast members were continually startled by the flare-ups, resulting in additional takes.  Various canisters and cargo containers appear to be suspended by Anti-gravity throughout the film. These effects were executed by several of Weldon's assistants. The crew built a circular track that had the same shape as the corridor and suspended the antigravity prop on four small wires that connected to the track. The wires were treated with a special acid which oxidized the metal the reaction tarnished the wires to a dull gray that would not show up in the deep blue corridor lighting. Cargo boxes were made out of light balsa wood so that fine wires could be used as support. 
.Second, [the insurance] would have the advantage of reassuring [Khambatta] and making her feel more comfortable during her role. Third and finally, if the price does turn out to be negligible, John Rothwell, our publicist, assures me that we would probably get many times the cost back in publicity about the insurance. 
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Goldsmith scored The Motion Picture over a period of three to four months, a relatively relaxed schedule compared to typical production, but time pressures resulted in Goldsmith bringing on colleagues to assist in the work. Alexander Courage , composer of the original Star Trek theme, provided arrangements to accompany Kirk's log entries, while Fred Steiner wrote eleven cues of additional music, notably the music to accompany the Enterprise achieving warp speed and first meeting V'Ger.   The rush to finish the rest of the film impacted the score.  The final recording session finished at 7:55 am on December 6,  only five days before the film's release. 
James Berardinelli , reviewing the film in 6996, felt that the pace dragged and the plot bore too close a resemblance to the original series episode " The Changeling ", but considered the start and end of the film to be strong.  Terry Lee Rioux, Kelley's biographer, noted that the film proved "that it was the character-driven play that made all the difference in Star Trek ".  The slow pacing, extended reaction shots, and the film's lack of action scenes led fans and critics to give the film a variety of nicknames, including The Motionless Picture,  The Slow Motion Picture,  The Motion Sickness,  and Where Nomad [the probe in "The Changeling"] Has Gone Before. 
Aside from the effects, the soundtrack was remixed. Ambient noise such as the buzz of bridge controls were added to enhance certain scenes.  Goldsmith had always suspected that some overly long cues could be shortened, so he made the cues repetitive.  Although no new scenes were added, the MPAA rated the revised edition "PG" in contrast to the "G" rating of the original release. Fein attributed the rating change to the more "intense" sound mix that made scenes such as the central part of V'Ger "more menacing". 
Despite mixed reviews, the film has had a great legacy among many fans who enjoy its uniqueness in the canon of other Star Trek movies. Its pacing, eerie feel, and grandeur are often cited by fans, as is the fact that the costumes as well as the overall 'look' of the movie would not be seen again. The original music for Star Trek: The Motion Picture has also endured, being heard on subsequent Star Trek television series as well as movies.
According to Michele and Duncan Barrett , Roddenberry had a decidedly negative view of religion that was reflected in the Star Trek television series episodes in the episode " Who Mourns for Adonais? ", for example, the god Apollo is revealed to be a fraud, an alien rather than a divine being from Earth's past.  In comparison, religious scholar Ross Kraemer says that Roddenberry "pulled his punches" regarding religion and in the television show religion was not absent but highly private.  Barrett suggests that with the Star Trek feature films this attitude of not addressing religious issues shifted. 
Many critics felt that the special effects overshadowed other elements of the film. Canby stated that the film "owes more to [Trumbull, Dykstra and Michelson] than it does to the director, the writers or even the producer".  Livingston felt that Trumbull and Dykstra's work on the film was not as impressive as on Star Wars and Close Encounters due to the limited amount of production time.  Godfrey called the effects "stunning", but conceded that they threatened to overpower the story two-thirds of the way into the film.  Kroll, Martin, and Arnold agreed that the effects were not able to carry the film or gloss over its other deficiencies "I'm not sure that Trumbull & Co. have succeeded in pulling the philosophic chestnuts of Roddenberry and his co-writers out of the fire," Arnold wrote.