Given a paragraph about movies and a set of conversational questions and answers about the paragraph, say whether the passage contains sufficient information to answer the follow-up question. Say Yes if it is answerable; otherwise, say No. 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:`.

Q: CONTEXT: Brandt was from earlier trials of Extremis (she is seen on the videos regrowing an arm during an early set of the experiments). Savin is from after the work has been more refined, similar to Killian himself, who shows a number of additional abilities on top of the regrowth/strength of the earlier instances. Note that in the early part of the film, Tony is investigating the mysterious "explosions without a bomb" which are the result of early Extremis treated victims going critical. The process itself is clearly not 100% effective or when Killian shoots Maya Hansen, he wouldn't then be offering Tony a "high level position" to perfect it - Tony even notes that he "almost had this 20 years ago, when I was drunk" so expects that he could figure it out fairly easily.  <sep>  Q: How come this Extremis Soldier died so easily?

A: Yes
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Q: 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  Q: A first person account of what exactly? A: 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  <sep> FOLLOWUP_Q: Is this why we see the camera panning around a lot?

A: Yes
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Q: CONTEXT: Her name, she just remembered earlier than everyone else. While the others used to take days to remember, her name came in hours or minutes. Could be also, since she was working for the wicked, that she just took a smaller portion of whatever they were working with to erase the memory. Now Thomas's name, I think she just had dreams/visions about him, just like Thomas had visions/dreams about her.  <sep>  Q: Why did Teresa know Thomas's and her name?

A:
Yes
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