Production
Monster House was initially set up at DreamWorks Animation SKG, based on a pitch by newcomer Gil Kenan. Having just finished film school recently, Kenan had been having meetings with film producers for a while, but had not found any success, with a screenplay based on the Pac-Man video game series going unproduced. After Kenan received Dan Harmon's and Rob Schrab's screenplay for ImageMovers, Kenan had a meeting with head of story Bennett Schneir, where he was able to pitch his vision for the film. Schneir worked for Robert Zemeckis as the head of development at ImageMovers, and Kenan had a meeting with Zemeckis quickly thereafter, apparently due to the filmmakers wanting to get a director for the project as fast as they could. Upon impressing Zemeckis with his pitch, Kenan then had a meeting with Steven Spielberg, where he pitched the film to Spielberg in a presentation with some sketches and drawings he had drawn before meeting Zemeckis. By 2004, the studio put the film in turnaround, after which Sony Pictures Entertainment picked up the project and began production on August 23 of that year, with Zemeckis and Spielberg serving as executive producers.
The original screenplay of Monster House was, in Kenan's words, "absolutely brilliant and laugh-out-loud funny". Due to his experience as a storyteller, Kenan decided to preserve all the characters and the tone from Harmon's and Schrab's story, but added the idea that the titular house was possessed by a soul, leading to the creation of Constance Nebbercracker and the house's backstory. To help him revise the script and introduce Constance and Horace Nebbercracker into the plot, Kenan brought Pamela Pettler after reading her script for Corpse Bride (2005). They worked on the script at her house, and to meet the established deadline, they finished a draft quickly and sent it to Amy Pascal at Sony's Columbia Pictures. As work on the screenplay was underway, in a few months of preparation, Kenan had assembled a team of storyboard artists led by Simeon Wilkins in Studio City, Los Angeles to put up rudimentary boards with scratch dialogue and temporal score, with Khang Lee and Chris Appelhans collaborating on paintings for the film.
The film was shot using motion-capture, in which the actors performed the characters' movement and lines while linked to sensors, a process pioneered by Zemeckis for his 2004 film The Polar Express (2004). Zemeckis was in the process of starting filming on The Polar Express when he met Kenan, who visited the set to see how that film was filmed and discussed with Kenan how they would exactly shoot Monster House, deciding that they should prioritize the story before the filming technology, though Kenan always felt that the story should use animation to create a world with a living house, as he opined that making the house a viable threat and character would better work in an animated setting.
The casting for Monster House was a laborious process, especially for the lead trio, who were portrayed by Mitchel Musso, Sam Lerner and Spencer Locke. Kenan agreed with head of animation Troy Saliba that actors were needed to portray the roles in a believable way. Many of the film's artists interpreted the roles on set and enhanced the lead actors through posed animation that drove the exaggerations of their performances to make them feel subtle and real.
Ed Verreaux served as the production designer of Monster House. To design the neighbourhood where the story takes place, Verreaux realized that the film's setting needed to resemble that of 1980s films, like E.T. the Extra-Terrestrial (1982). During his discussions with Harmon and Schrab, Kenan was told that the film's setting was inspired by that of Wisconsin and Minneapolis. Verreaux and Kenan went together on a scouting trip to design the film's locations, which involved a visit to Universal Studios' backlot, during which they were granted access to the suburban street of The 'Burbs (1989), the neighborhood of the show Desperate Housewives and the house of Psycho (1960).
Monster House was the first animated feature film using the Arnold rendering software (co-developed at Sony Pictures Imageworks), and the first feature film entirely rendered with unbiased, brute-force path tracing.
