I have to agree with Brent Bowles' clear assessment of Elliot Goldenthal's film scores in terms of his reliance on orchestration rather than thematic ideas to tell his story. Elliot uses some of the most daring orchestration around today. But, I have to tell you, he's been pushing the threshold on this for over 20 years.
Back when we were both trumpet players at Manhattan School of Music (1970's) Elliot was already experimenting with unusual compositional and orchestrational techniques. He once approached me about playing a solo trumpet piece of his where I had to not only buzz into the "wrong" end of the mouthpiece but sing into the instrument as well. I thought he was nuts at the time, but looking back at that and seeing the wonderful work he is doing now I know that he was just way ahead of the rest of us.
George Oldziey, Senior Composer/Origin Systems, Austin TX