I think you are correct, because Gary Graver said THE DREAMERS got rejection notes saying things like, "too poetic" or "not suitable for the screen."
So I guess poetry in motion pictures is something that is not suitable for the screen, at least in Hollywood's view.
Francois Truffaut summed it up beautifully when he said:
In my opinion, all the difficulties that Orson Welles has encountered with the box office, which have certainly put the brakes on his creative elan, stem from the fact that he is a film poet. The Hollywood financiers (and, to be fair, the public throughout the world) accept beautiful prose—John Ford, Howard Hawks—or even poetic prose—Hitchcock, Roman Polanski—but have much more difficulty accepting pure poetry, fables, allegories, fairy tales. There is no point in congratulating Welles for remaining faithful to himself and not making concessions, since he couldn't have done otherwise, even if he wanted to! Each time he says "Action!" he transforms vile reality into poetry.
However, Orson Welles has made films with his right hand (Kane, Ambersons, the three Shakespeare adaptations, The Immortal Story, The Other Side of the Wind) and films with his left hand (the thrillers). In the right-handed films there is always snow, and in the left-handed ones there are always gunshots; but all constitute what Cocteau called the "poetry of cinematography."
Of course, THE DREAMERS falls into the category of a Welles film with snow, just as Truffaut's FAHRENHEIT 451 combined the poetry of Bradbury's words with snow and Bernard Herrmann's music to create pure poety. But given that THE DREAMERS dealt with the world's greatest Italian opera singer, is set in Italy and the Alps, and also featured a young boy soprano, I can't imagine anyone better than writing the score for the film than the Italian maestro, Ennio Morricone.
In fact, if someone should ever make THE DREAMERS, Morricone would be the perfect composer to write the music for it.