There was a time when I really loved John Williams. But with the time some of his melodies seamed familiar to me. I investigated and I found the origin of his pieces: Stravinsky, Holst, Tschaikovsky, Howard Hanson, etc.... .

John Williams copies music. He earns millions and millions of dollars with melodies and sound colors from other composers.

The examples that you see in this video are only a little fragment of my long list which contains 20 to 30 examples.

I still love John Williams for his arrangements and his brilliant use of Leitmotivs and orchestration. He still a great Film music composer!
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Now you are saying that the scores were temptracked.

-("[...]the problem is that filmmakers put that classical pieces under the movie for temptracking a score, and asked williams to recreate the same mood and feeling[...].", PuffoInformatico)

Okay... . But why John Williams takes the same MELODY, the same ORCHESTRATION, SOUNDCOLOR and TONALITY?

-("[...].At the contrary, this video is very educational because it teaches peole about the roots of 'easy-doing-complying' film music which is 'good-original-ground breaking' classical and contemporary music!", nomdutilisaateur)

-("John Williams did make Beautiful Music. But it's also true that he was inspired by some classical Compositors, or even copied some music[...].", Raphacello)

-("[...]Imagine conducting a "copied" piece in front of a 90 piece orchestra, that's going to raise controversy among the musicians.... and then he wouldn't be as respected as he is.[...]., lostinspace771)

-("[...]Williams' does re-use his own material though and keep in mind Williams' is classically trained so his inspiration is bound to come from classical music.", krazie835)

All composers on earth are inspired and influenced. But this composers did/do not always take the music from their colleagues.

-("I'd be very wary to bring this up to a real Williams fan especially a non educated Williams fan, but this is an educational video.[...]", krazie835)

-("[...]n any case, any indictments regarding temp-track-based scoring should be leveled against the director, not the composer. [...].", 1taken)

-("Oh, I'll just say one more thing! It sounds like to me like you would be a liitle less incensed if the composers (or ANYBODY, for that matter) would at least ACKNOWLEDGE their influences, pay some respects to their forerunners.[...].", Alyfox3)

-("Get ready PT1: from the booklet, "JOHN WILLIAMS ON STAR WARS, SPring 1977; "Quite often,filmmakers take records and put them in workprints as temporary (temp) material . . . at one point, George talked of integrating selections from the classical repertoire with the score. 2001 and several other films have untilized this technique very well. But what I think this technique doesn't do is take a piece of melodic material, develop it and relate it to a character all the way through the film . . ."", Alyfox3)

-("From JOHN WILLIAMS: For instance, if you took a theme from one of the selections of Holst's THE PLANETS and played it at the beginning of the film, it wouldn't necessarily fit in the middle or at the end. On the other hand, I did not want to hear a piece of Dvorak here, a piece of Tchaikovsky there, and a piece of Holst in another place . . . I believed we needed melodic themes of our own which I could sort of blend around and put through all the permutations."[...].", Alyfox3) (less info)