For sure, he's done a lot of writing for theme parks, etc., and ultimately, I know he's asked to do what he's asked to do by his clients. I also know that at least the musicians praise his pedigree - his reputation is for being "legit," as far as that matters. But I have no real idea what his full total range is - though I have heard him do horror/dissonance/etc. And I don't mean to suggest him as a replacement for Williams, because there is none, but more as one of the few younger guys who understands musical narrative. There are lots of guys out there who can do interesting moments, appropriate moments, cool things, but tell a self-supporting story? This I rarely hear. In fact, I can't ACTUALLY think of a score recently that does anything like that, where you can listen to the OST end-to-end and hear the entire dramatic structure unfolding in a connected, symphonic way. Plus, I mean, this forum isn't primarily a celebration of JW's Sinfonietta-type work, but rather his much more "user-friendly," works. As for the pastiche thing, when I first heard about him, I thought the same thing, but eventually heard more of his work and realized that he does tons of stuff with a different sound. Later, when I saw a class he taught where he did musical "impressions" of the greats - all improv'd in realtime, all dead-on, I realized he can probably do just about any sound people ask of him. But he definitely has his own thing. Again, seems really strange to me not to embrace obvious ability and aesthetic competence from a respected, legit, and younger guy, when there's so little of that out there, that's all.