Most of the female characters in the film are imaginary. Due to a lack of sufficient written history and reliable sources, it is difficult to know the facts about Marakkars. There were more unanswered questions and contradicting accounts and perspectives. Priyadarshan relied on commonsense and basic human behavioral patterns to fill the gaps. According to him, the screenplay contains 30 percent history and 70 percent fiction. Marakkar IV is presented as a hero of a fairy tale.[23] Since nothing much is known about Marakkar IV, artistic freedom was to be used to tell his story. Whatever was found about him was completely contradictory, while the Europeans portray him as a villain, the Arabs hail him as a savior. Priyadarshan took the basic structure of the story from a chapter he learned as a child in his grade three textbook and worked on that.[9] According to him, "Marakkar was a patriot whose loyalty to his land came above barriers of caste and religion. That is my message in my film. If Kunjali Marakkar could do it so many years ago, why do we find it so difficult to put our country ahead of caste, religion and region?".[2] A disclaimer is added in the opening of the film that it contains fiction.[20]
The original score was composed by Rahul Raj, Ankit Suri and Lyell Evans Roeder. Suri and Roeder, composers of Alternative Fidelity, a British-American music production house were hired to compose the score for battle sequences in the film. It was also their debut in Malayalam cinema.[71] A few months later, Rahul Raj, who freshly graduated from Berklee College of Music was hired to independently compose and produce the rest of the score.[72] Raj was chosen by Priyadarshan after being impressed watching a video of him conducting a 52-piece London orchestra as part of his thesis in Berklee.[73] While scoring, Raj avoided giving a regional touch to the music which would have been easier for a film set in Malabar, as Priyadarshan was clear that he was making a film which caters for a global audience and it should resonate in its music too.[74] Deviating from his usual norm, Priyadarshan who is known for giving references and definitive instructions to his composers, gave full creative freedom to Rahul Raj for scoring. His only instruction was to imagine as if he is working for a Hollywood epic and compose with that on mind. Raj wanted a soundscape that could bring an epic feel as in films produced during the golden age of Hollywood.[73] He mentioned Ben-Hur and The Ten Commandments as examples.[74] Beside composing, Rahul Raj also performed programming and production entirely by himself as opposed to have additional programmers in many regular film scores. The Chennai Strings Orchestra played string pieces for some of the significant portions.[73]
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