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:`.

Ex Input:
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  Q: Is this why we see the camera panning around a lot? A: 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  Q: That's interesting, what else can you tell me about the production? A: The source material is essentially a recollection of a life lived by an individual on his death bed  <sep> FOLLOWUP_Q: When was this film made?

Ex Output:
No


Ex Input:
CONTEXT: It is more likely to have been real imho. Bond is superficially charasmatic and able to make shallow relationships with ease, like his ability to seduce women. However, he has issues forming deep relationships with anyone. His relationships with women usually end quickly with little emotional connection. It is the same in the bar, one minute he is able to impress everyone and become the centre of attention but none of them are actually his friends and he quickly ends up alone again.  <sep>  Q: In Skyfall, was the bar scene a daydream or was it real? A: It is more likely to have been real imho  Q: Why do you say this when it is not really explained in the film? A: Bond is superficially charasmatic and able to make shallow relationships with ease, like his ability to seduce women  Q: What does his charisma have to do with the dream sequence? A: It is the same in the bar, one minute he is able to impress everyone and become the centre of attention but none of them are actually his friends and he quickly ends up alone again  Q: So do you think his lack of charisma suggests this is a dream? A: he has issues forming deep relationships with anyone. His relationships with women usually end quickly with little emotional connection  <sep> FOLLOWUP_Q: Do you have any other suggestions as to why this is definitely real?

Ex Output:
No


Ex Input:
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  Q: What else does he want? A: to be in a relationship with MJ  <sep> FOLLOWUP_Q: Anything else?

Ex Output:

Yes