For all those moviemakers toiling away up here in Maine, a good old “local boy makes good” story makes for a welcome infusion of confidence.

Enter Maine native (Portland, Naples and Jonesport) Ryan Spindell, whose latest short film premieres in competition at Robert De Niro’s Tribeca Film Festival later this month.

Additional Photos

Allison Gallaher, center, in “The Root of the Problem,” a short film by Maine native Ryan Spindell. Courtesy of Tribeca Film Festival

Brea Jones and Ptolemy Slocum in “The Root of the Problem.” Courtesy of Tribeca Film Festival

Spindell’s 14-minute short, “The Root of the Problem,” is a perfect little ghoulish set piece that balances dark comedy and squirmy horror (especially if a trip to the dentist is already inherently terrifying – which it is). Set in a “Mad Men”-era office, the film spins the tale of a woman (Alison Gallaher) waiting to have her wisdom teeth yanked and gradually coming to suspect that her mild-mannered dentist (Ptolemy Slocum) isn’t exactly as he seems.

A triumph of meticulously rendered set design, visual flair and sneakily subtle performance, “The Root of the Problem” calls to mind the likes of Terry Gilliam, Jean-Pierre Jeunet and Sam Raimi, all in the service of an economically creepy fable that would feel right at home on “Alfred Hitchcock Presents.” It should do well at Tribeca.

Emailing from his digs in Los Angeles (where he’s lived since 2008), Spindell spills on his Maine roots and his advice to aspiring Maine filmmakers.

Did Maine influence your filmmaking?

I firmly believe that it was growing up in Maine that defined me as a filmmaker. Maine is a state that’s both stunningly beautiful and terribly mysterious. My parents’ house is literally built on a Native American burial ground. It’s easy to imagine why so many genre masters hail from the state. Stephen King was and always will be one of my greatest influences as an artist and a filmmaker.

What is your advice to Maine moviemakers looking to make it?

I know there’s a constant debate as to whether or not to go to film school, but in my opinion, it was the best decision I ever made. I learned how to literally do everything on a film set and met some of the most amazing people there, whom I continue to work with today. Highly recommend checking out Florida State’s film program.

Here’s the thing: The whole film industry is changing right now, and in a big way. Independent cinema is bigger now then it’s ever been. Yes, L.A. is the mecca for big-budget movies, and if you want to work as a production assistant on “Iron Man 7,” then this is the place to be. But if you want to write and direct your own films, use what you have available, wherever you are, and start making movies. When you’re ready to take the next step, L.A. and NYC will always be here.

Forget what you think anyone else wants and make films you would kill to see. If you’re true to yourself and you continue to hone your skills, people will respond.

Also, call the Maine Film Commission and ask them why there’s still no state film incentives. I’ve been trying to go back to Maine to shoot my films for years, but it’s just not economically feasible.

What’s next?

I’m currently working on a feature that I’m over-the-moon excited about. It’s called “The Mortuary Collection,” and it’s an old- school horror anthology film that pays homage to Stephen King’s “Creepshow.” The entire film is set in smalltown Maine, and is going to be a blast! We’re currently looking for financing, so if anyone out there wants to make a horror movie in New England, drop me a line.

Dennis Perkins is a Portland freelance writer.

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