Brett Vincent is agent to the stars for Underbelly Management and Promotions. Currently, Brett represents a small but exceptional group of comedians who work in the UK and international comedy industry. Through his promotions arm, he organises UK tours, promotes shows at comedy festivals, books comedy clubs in the UK and Europe, organises one-off comedy events and offers a corporate entertainment booking service. Brett took time out from his busy schedule to chat to 4Laughs...

Tell us a bit about yourself...

I have loved this job since I first got in to comedy. I come from a music background promoting raves, nightclubs and one-off events also; I was a professional DJ for around 6 years. I have been working in comedy since 1997 and have been a fan of stand-up comedy since I was 14.

Briefly describe you role at Underbelly...

As an Agent/Manager, I find jobs for comedians, actors, musicians, and other people in various entertainment businesses. I make money by taking a percentage of the money that my client is paid.

How did you get into comedy?

My Brother (Andre Vincent) gave me a tape of 'The Comedians' when I was 14. Back then, Roy Walker was my favourite comic. I'd copy his one-liners and tell them at school. This year I finally got to work with him, which was fantastic working with such a legend.

How long have you been working in comedy?

12 years in total - 10 Edinburgh comedy festivals, 8 years in an office.

How did you become an agent?

I was working at the Edinburgh Fringe as a Direct Marketeer (flyerer) when one of the big agencies picked me up. They knew my contacts and my passion for the scene.

Is it important for an act to have an agent?

Not really, there are some great acts without agents... Bill Bailey, Billy Connelly, Stewart Lee... I also believe young/new acts should wait until numerous agents want them and not sign too early.

What can you offer an act?

Sex, Drug's, and Rock and Roll... Ok, not sex.

How much do you take as a percentage?

The average is 15% some stuff I take 20% (if there is a lot of work involved) some I take 10% (if I just answer a phone)

Do acts approach you for representation? Have you had many this week?

I get a lot of acts asking for representation. Some acts think they need it. Some acts ask due to sheer laziness on there part as they can no longer be bothered to phone around for work for themselves, I also get approached very often from foreign entertainers wanting to work in the UK.

What do you look for in a potential new act to represent?

Writing mainly. If I can see, they are constantly churning out material or ideas, that's always a good thing. Passion for the business and good jokes also help!

Is it easy?

I think most acts believe we just sit and answer phones all day. It is a small part of the business but I would say 40% is out of the office either meeting new contacts to help further the career of our clients or checking our clients out doing live gigs or scouting for new clients. The paperwork that goes with a lot of this job is also very tedious.

Do you just book acts into comedy clubs?

I wished. The clubs need to know who these people are. Then once the acts are booked, I have to make sure they know how to get there, what time they are there, how they are being paid. I also book acts into Arts Theatres, Big Theatres, Comedy Festivals, Music Festival, Radio shows, TV shows, movies etc...

What are the perks of being an agent?

I get to see comedy from grass roots to full-blown productions, TV shoots and movie shoots.

What do you hate most about comedy?

The bitching, backstabbing and gossiping that goes on. Moreover, gag thieves they are the worst!

How many gigs do you have to book a day to make it worthwhile?

As many as the acts can do???

Which venues are the toughest to get into?

The Comedy Store (The best clubs in the country), Jongleurs (have the biggest chain of top clubs in the country), Banana Cabaret (Dave only books once a year - if you miss them you have to wait till next year), CSE (Combined Service Entertainment) (are the best-paid gigs on the circuit and you get to travel)

Are some acts easier to book for than others?

Yes, Acts that have a TV profile or known as headliners. Newbies have to do their time, working up from open spots (unpaid gigs) to support slots (cheap middle or open spots) to get to headlining.

Do you have your bartering skills honed?

No.

What do you do once the Edinburgh festival is over?

Eat, sleep and detox?? Sleep mainly!!

When does the work begin for next years Ed fest?

January. Even though I had a call in the 2nd week of September from an agent, asking if I would take her acts next year. September?

Have you ever taken a chance on acts you like rather than acts who will sell?

Indeed. I take a punt every year. In 2006, it was Carrie Quinlan, 2007 Martha McBrier and last Edinburgh Wendy Wason (see a trend there?). Sorry but I have always wanted to help push the careers of people I believe in or I know has a great talent. There is a kid at the moment who I believe has a fantastic talent, it is just working out the correct route and work out which is the best way they can benefit from my help. Banker acts pay the wages though.

What myths would you like to dispel about your job.

A lot of agents are seen as parasites by acts and by other people in the business as a lot used to just answer the phone or were never around (one case an agent said to a comic - 'You was fantastic tonight, who represents you?' the quite annoyed act responded with 'you do' - always makes me laugh!). Anyway, if you can guide and successfully push your acts through the ranks, help them with their career and also get on well with them then you will benefit in a lot of ways. An agent and an act should be friends and they should always be able to trust one another.