In the process of developing a film based on an observational piece of writing, or developing a film with an approach that is inspired/underpinned by practices learned from observational writing, research into the form and observational-style film, while of potential value, exists upon a fine line between detriment to artistic integrity and benefit to the stylistic character. 

Upon the latter possible mode of influence, research into the potential methods by which aspects of the observational writing process may be concurrent with film-making may have a considerable role in terms of reducing the necessity for wide experimentation and therefore increasing efficiency of production and enhancing the visual literacy of the product. This may derive from the opportunity for the refinement of one’s own taste and preferences which research readily allows; in being exposed to a diverse range of pieces of similar taxa, examples are provided of the potential stylistic avenues and methods to production. These examples provide a background knowledge of the form that contextualises the practise and informs one’s taste. In light of this, where exploration of the potential avenues for the translation of observational writing is integral to the practise, by exploring taste and methods without having to do so in self-production, research allows for the refinement of aspirations in practise that informs decision making processes in production and therefore enhances the efficiency and enables the more effective adoption of stylistic features.

However, where inspirational influence is typically very closely associated with imitation, research may draw into question or otherwise negatively impact one’s artistic integrity. It is difficult to assess the potential relevance of this to artistic practices as a whole as one can only assume the degree to which ideas are original and/or influenced by another individual, however the issue of artistic integrity arises from the fact that the employment of inspiration derivative from other creatives may lead to unintentional imitation in practise and lack of complete authenticity in artistic expression. Expression instead occurs through vehicles and precedents which are established by other creators. In many cases, particularly in mainstream art and media, such serves to enhance the communicative qualities of a piece as recognisable features, symbols and approaches may already have well-formed modes of interpretation. But this expression is no longer individual. In light of this, should one adhere too closely or too truthfully to their inspiration as is made known by research, their work may become a vehicle for the exploration of their inspiring work as opposed to the exploration of their own ideas.