Given a paragraph about movies, and a set of conversational question answers about the paragraph, answer a follow-up question from the paragraph. The paragraph has the prefix 'CONTEXT:'. Each conversation question has a prefix `Q:` followed by the answer prefix `A:`, and the follow-up question has a prefix `FOLLOWUP_Q:`.

CONTEXT: I think the similarities are coincidental. The Johnny B. Goode scene ties directly back to the start of the film, where Marty is auditioning for the school program, and his band is rejected for being "too loud." In talking about the filming of the scene, Michael J. Fox says, "My favorite part of the original Back to the Future, filmed in 1985, was the Johnny B. Goode sequence during the “Enchantment Under the Sea” dance. As a frustrated musician, I was in my glory, learning the guitar chords and lead solo arrangements, as well as working with a choreographer to mimic and incorporate into the production number the signature styles and stage moves of my rock and roll heroes.” (Lucky Man: A Memoir, p, 144) Top Secret was actually a parody of Elvis films (imdb, Wikipedia, Rotten Tomatoes), so it had a different inspiration.  <sep>  Q: Was the Johnny B. Goode scene from Back to The Future inspired from Top Secret? A: I think the similarities are coincidental  <sep> FOLLOWUP_Q: What are the similarities between the two films?
Top Secret was actually a parody of Elvis films (imdb, Wikipedia, Rotten Tomatoes), so it had a different inspiration

CONTEXT: By the time of Infinity War, they could not have kept the Infinity Stones in Odin's Vault, because of the events in Ragnarok, which, by the end of the movie, left Odin dead and Asgard destroyed. The Asgardians wouldn't have kept the Infinity Stones in the Vault before Ragnarok either, because they knew that a cataclysmic event was coming, even if they didn't know when, so it would logically be safer to keep the stones away from Asgard. Finally, just as logical assumption, if you have a super-destructive device in six parts, it would make more sense to keep those parts as far away from each other as possible so that it would be more difficult for said weapon to fall in to the wrong hands. If they're all in one place, no matter how secure, that only makes it easier to collect all the parts. This is doubly true since Thanos is literally one of the strongest characters in the MCU at this point. Anyone who would have been powerful enough to stop him either (a) wouldn't care, or (b) have already been killed.  <sep>  Q: Why didn't the Asgardians aquire the Infinity stones using Heimdall? A: because they knew that a cataclysmic event was coming, even if they didn't know when, so it would logically be safer to keep the stones away from Asgard  <sep> FOLLOWUP_Q: What was the cataclysmic event?
the events in Ragnarok, which, by the end of the movie, left Odin dead and Asgard destroyed

CONTEXT: The source material is essentially a recollection of a life lived by an individual on his death bed. We are seeing these things through the lens of memory, so it is meant to be an almost first person account. There are other moments in the film where things move around for no apparent reason and the stage itself does not move in accordance with objective reality. That particular scene is from "Swann In Love" by Proust and it was an attempt at capturing visually some measure of Swann's emotive memory of a musical experience from that story. I won't comment on whether it was successful. The closest thing I can think at this moment that has this sort of movement might be in Wes Anderson movies where suddenly the naturalistic feel is broken in favor of a staged play: the Zissou movie and "Moonrise Kingdom" both take similar but more obvious breaks from naturalism.  <sep>  Q: Why is the audience sliding around in this scene from Le Temps retrouvé? A: We are seeing these things through the lens of memory, so it is meant to be an almost first person account  <sep> FOLLOWUP_Q: A first person account of what exactly?

That particular scene is from "Swann In Love" by Proust and it was an attempt at capturing visually some measure of Swann's emotive memory of a musical experience from that story