Augie

I think it will be a difficult subject to write a book about JW, in musical
terms.
Williams is changing his style every 15 years or so. Also, the different
styles are overlapping. He also develops about 4 different "sub-styles"
in each period, also simultaneously. And unlike other composers outside
the film scoring world, he cannot always do what he wants, and has to
catch the overall tones of the movies. So he has to switch around with
his style, a lot. Which makes it hard to trace.
I'm listening to JW since 1985. Since I was 11. The closer you come to
him, the more the picture gets blurred. He's basically a chameleon. A
total chameleon. Which he needs to be in the profession he works in.
I tried to find answers in his earlier work, pre-JAWS, which I think is his
first big milestone composition. What I found in the material he composed
before Jaws, was a young composer who was able to adapt to any given
style of music (just like a pianist who can play everything, but with a full
orchestra). He arranged and conducted even Elvis-like cheesy Vegas-
Blues stuff, if somebody needed it (listen to the Mahalia Jackson albums).
He did folksy stuff for a couple of early 70s films when it was trendy. Or a
jazzy thing for Clint Eastwood who requested that. He composed in the
style of Mancini or even Herrmann or when he was asked to (60s comedies,
"The Fury"). Or crime jazz when it was required ("invented" by Alex North
and Elmer Bernstein.
John Williams was, from the early days on, a MASTER OF IMITATION.
This goes even so far that, if you listen closely to his whole output between
1957 and 1975, you might think you are listening to 8 different composers.
I think he has a natural gift for imitating individual music styles (the genius
part of his personality), and a intellectual understanding of how important
it is to do research to make it sound.
From 1975 onwards, until somewhere between 1985-1989, Williams was in
his second, and most popular mode: Using a jazz idiom for a full symphony
orchestra (similar to John Barry, but not that obvious), he created his most
outstanding masterpieces. This isn't a "classical period", really. He just used
big orchestras. Orchestral, but rooted in Jazz, actually. The end point may be
"The Witches of Eastwick".
After that, he entered his classical period. Some call it pseudo-classical. With
scores like Accidental Tourist or Empire Of The Sun (but already in Space
Camp, which makes it difficult to categorize), JW dropped the jazz idiom in
favour of a more classical idiom. Scores like Hook or Last Crusade have a
pretty Russian vibe going on, Tchaikovsky, Prokofjew, you name them.
That period is still going on, in the larger perspective. But it also can be broken
down in four dominant styles. The Russian sup-period, as mentioned. The
period about solo-instrumentalists (Tony Morrisson, Itzhak Perlman, etc) which
seems to go from 1989 to 2000. Then the experimental period (2001-2005), which
sees Williams sort of channeling "modern" composers like Glass and Gorecki. It
overlaps seamlessly with the 4tth and pre-dominant sub-period of self-referentiality:
In various children movie scores Williams is repeating a tamer version of the music
of his younger self (Potter). While in scores like "Catch me if you can" it is all about
re-discovering his own jazz roots. Also, with the Star Wars prequels, and Indiana
Jones or Tintin, he is downright forced to revisit his former landmark scores - but
they sound different, of course, since he has dropped the jazz idiom long time ago.
I think he still imitates whatever he wants to capture/imitate (even himself). But he
does it with so much honesty and musical genius, that it's not baffling anybody. I
even would say, it goes by unnoticed by most listeners. Occasional listeners as well
as his fans.
John Williams - rocket science, really.
If you think about it.
Augie

Actually, I have to amend what I said earlier that this is either a troll or really bad farce by a regular poster. There's a third option in that the OP may be genuinely mentally ill, and possibly under the influence of a controlled substance. In his mind, he's merely traded his Williams "addiction" for another. It's quite textbook actually.
In this case, I encourage everyone to tread very carefully, don't make any sudden movements, and by all means humour him.

Yes.
Yes....
I see now!
You may have a point

John Williams is a hack. We all know it. He stole most of his material from Lord Zimmer.