Jake Gyllenhaal saunters into the room, a long-in-the-limbs manchild garbed in navy blue. It’s immediately obvious that his groomed stubble is the only accessory removing him from your average high school student. The “Jarhead” muscles have apparently deflated, and his slender frame seems vastly more fitting and youthful. He’s trailed by Ang Lee, a gentle-looking Asian man in his 50s who dons an oversized sweatshirt and looks like the perfect person to share a hot chocolate and the Sunday Times crossword puzzle with.

Intermission was fortunate enough to catch them at a press junket for “Brokeback Mountain,” a film that showcases them both at the pinnacle of their abilities, at least so far. And yet, making the rounds for perhaps the most important and stereotype-shattering romance made in the last ten years hasn’t shaken their modesty even an inch. Gyllenhaal counters Lee’s airy and aloof self-deprecation with a surprising intensity, and their banter hits at a close bond.

Lee emphasizes that “Brokeback” was not made to support gay rights, or to enter into the national debate on the subject in any context. Gyllenhaal, on the other hand, clearly thinks the film sends a bold message — absolutely necessary for a country that might not necessarily be ready to receive it. The following interview explores these themes.

QUESTION: There has been a lot of talk about how this movie has been labeled “the gay cowboy movie.” How do you feel about that?

ANG LEE: Well, we invite all of those people to come see it. So far most of the people who have seen it left saying that it was just a love story.

JAKE GYLLENHAAL: We actually had one journalist first report on it as “the gay cowboy movie” and then apologize after he saw it... I have to say that if I would have been given the script a few years ago, or if it had been pitched that way to me, I wouldn’t have taken it.

AL: I don’t have a problem with it being called that really. What I do worry about is people think it would be a funny movie like “Blazing Saddles” or something.

Q: Why did you both decide to take on this project in the first place if you knew it would be so controversial?

AL: It was just a great piece of writing. That was what was so attractive to me.

JG: The story on its own carries real weight. It has power to it. I’m a city kid, so I’ve never ridden a horse, and it was going to be a new experience. I think in the end that worked out for me because my character Jack is in a lot of ways always pretending to be better at things than he is.

Q: How was it filming some of the more graphic sexual instances? How did you go about doing that?

AL: We found that the best thing to do was just roll the camera and see what happens. We couldn’t be shy.

JG: I’ve done love scenes with women I haven’t been attracted to, and women I probably should have been less attracted to, so it wasn’t that much of a stretch. Most of the love scenes come out of fighting between the two guys, and the fighting was something familiar. Plus, hey, we’re all human beings, we all have lips, you just get in there and do it.

Q: For Jake, you filmed “Brokeback” before “Jarhead,” how was it to switch between two very different roles?

JG: I actually have a friend who is a soldier right now in Iraq and when I told him I was going to be playing a marine the first thing he said was ‘Oh man, not the gay cowboy.’ But really, I like working in this gray area. In a lot of ways I considered this one role preparation for the other.

Q: Your co-star Heath Ledger will next be appearing as Casanova, the greatest lover of women of all time. Do you feel like you need to find a new role to validate your sexuality?

JG: I don’t need to play any role to affirm my sexuality. I don’t feel like I need to affirm anything to anyone. When someone offers you a job playing Casanova, you take it whether you’re gay or straight.

Q: Ang, what greater themes do you want to get across in this film, underneath the fact that it is a love story between two men?

AL: I really believe it is about free will versus social obligations. As the story unfolds we see what society does to the characters, and not only that but what the characters do to themselves because of how they think society will perceive them.

Q: Why is it that most of the love scenes in the movie start off violent with a lot of tension between you and Heath?

JG: I think we were both dealing with it being uncomfortable, and the fighting was just a more comfortable, easier place to go. That’s how Heath and I related to each other. But there were other, harder, more tender scenes too. I have ex-girlfriends coming up to me after they see it saying ‘Hey, that’s not how you treated me!’

Q: Do you think this is important that this film, with this message, come out at this point in time? If so, why?

AL: It’s a love story. Love stories are important to come out anytime. I’m always looking for new material. I didn’t do it because it was timely. People started trying to make this story into a move eight years ago and couldn’t figure out how to do it. I figured I couldn’t wait for the whole world to be ready for it before I made it. It was definitely not calculated.

JG: Annie actually wrote a note in the limited edition of the story she gave me saying that the name of my character Jack Twist actually refers to the strength a rodeo rider must have in his legs to hold on to a bull, and that it is symbolic of the strength you need to hold on to something you truly believe in that makes you feel alive. I think our generation feels like maybe, hopefully somewhere out there is a majority that has a different mentality toward this subject. Like I said, at age 16 I would have said no way to this movie. It gives me hope that we’re all growing.

Q: How was it to have Jake playing the clearly gayer cowboy?

AL: There is really no clear indication how gay Heath’s character is. Yes, you can say Jake’s character is more gay, but they are both family men as well. Ennis (Ledger) just hasn’t ever known any other lifestyle. It’s not like he would ever go off to San Francisco.

JG: I think my character is just more open and progressive. There’s a stereotype that if I’m the more gay character then I also have to be more feminine, and Heath has to be more of the John Wayne type. I think this doesn’t hold exactly true.

Q: Jake, how was it to work with Ang Lee for the first time?

JG: I’ve gotta say that at times it could be very confusing. He would say things all the time... like with Annie (Hathaway) and me, he would say ‘You go together like milk and water,’ and I’d think what the heck does that even mean? Milk and water don’t really go all that well together, but then again if you pour milk into water is could kinda spread out all pretty? Is that what he means? Who knows?

Q: Was it difficult to play such a large range of ages? What did you do to make it clear that you were getting older?

JG: It’s somewhat subjective how much time passes in the movie, but really we focused on making our voices deeper, slowing our mannerisms. There’s a point in the movie where I’m supposed to be about 40 carrying a saddle to the truck. The first time we ran it I was all ‘Errrgh’ and stooped over, and some of the 40-year-olds on the set were like ‘Hey, we’re 40, not 80.’

Q: What about Oscar buzz? Do you think this film will get some attention in that area?

AL: All I know is that Oscar buzz just means we have to work longer promoting things and giving interviews.

JG: When you work with Ang Lee, it’s inevitable.

Q: Ang, did you ever consider hiring actual gay actors to play the lead parts in this movie? Is there a reason you didn’t?

AL: I just have to go with the best actors possible for the roles I’m working with. I didn’t even ask the people I interviewed whether they were straight or gay. (Turns to Jake) I assume you’re straight? Yes?

JG: That’s a good supposition, Ang.