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:`.

Input: Consider Input: CONTEXT: It is not explained, but we can theorize. We don't know when he rented those books. He might have done so before buying his own (to ensure he indeed should buy them), or because the books weren't easy (or cheap) to purchase. Also remember that instead of renting books on a subject he is well versed in, he probably became well versed on the subject thanks to renting those books. Finally, despite those books in his apartment, IIRC we are never told what those books are about. They might have had nothing to do with the seven deadly sins (John Doe wanted to avoid having incriminating evidence on his home, perhaps?), and thus all of his knowledge came from renting the books in the library. The books in his house might have been educational on a ton of other subjects or philosophies. Also keep in mind, the Internet still wasn't a thing back then. And books such as the ones mentioned (on bondage, homicide, or by Italian Dominican friars) might have not been easily found in your regular old book store. Finally, you can also claim that he rented them to make the plot move along, as this was their main lead.  <sep>  Q: Why did John Doe need to check out books at a public library? A: It is not explained, but we can theorize  Q: What is your theory? A: Internet still wasn't a thing back then  Q: John Doe knew a lot about the Seven Deadly Sins already, didn't he? A: IIRC we are never told what those books are about. They might have had nothing to do with the seven deadly sins  Q: What else can you tell me about the movie? A: John Doe wanted to avoid having incriminating evidence on his home, perhaps?), and thus all of his knowledge came from renting the books in the library  <sep> FOLLOWUP_Q: What was Doe's motivation for his acts?

Output: No


Input: Consider Input: CONTEXT: It is a common fact on TV that combat and injuries are stylized to make it look good rather than realistic. Have a look at pretty much any film fight where someone knows a martial art and compare that to someone who knows a martial art fighting for real. They are worlds apart. Even if you look at American Wrestling and BJJ you can see the difference. Knocking someone out with one punch is extremely difficult, especially if they are used to combat. I have taken an unpulled hit from a quarter staff on the top of my head which caused me to blackout later but I still didn't go down at the time. After almost 20 years of martial arts and living in rough areas I have only been knocked unconscious with one punch once, when I was 17 by the European Kickboxing champion. I was punched to the ground by a bouncer in Portsmouth when I was 20 but was still conscious until he stamped on my head. Most of the people in the Walking Dead would have starved or succumb to injuries by now if they were suffering this scenario for real. Not to mention being struck down by illness. It is just a convention of the media that people are routinely knocked out in one hit and recover completely when the plot demands it and don't when the plot demands that instead.  <sep>  Q: Are there a lot of head injuries in the Walking Dead? A: It is just a convention of the media that people are routinely knocked out in one hit and recover completely when the plot demands it and don't when the plot demands that instead  <sep> FOLLOWUP_Q: Who is one of the characters that has a lot of head injuries?

Output: No


Input: Consider Input: CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  Q: What techniques are used to help younger actors cry in a movie scene? A: I have worked with some amazing amateur actors that would work themselves up into a state before filming  Q: Can anyone get good at crying for a movie scene? A: If all else fails, the vapors from an onion can induce tears (but also cause redness  Q: How often are onions used to make actors cry? A: a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears  <sep> FOLLOWUP_Q: whats the youngest actor to cry in a movie?


Output: No