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:`.

Example Input: CONTEXT: As a writing device, it's far funnier to let the viewers imagination run away with the wild descriptions that Howard gives. Additionally, by not showing Howards mother, the writers are able to characterize and describe her any way they like, without having to find an actor who lives up to that description. Howard repeatedly describes his mother as having no neck, facial-hair that needs to be removed, and at one point, it was mentioned that she wears a wig. Howards mother is essentially a charicature of an overbearing, overprotective, troubled but caring, single-parent. Now imagine if we were to actually see Mrs. Wolowitz's reactions when Howard yells at her. Perhaps we would start to feel uncomfortable witnessing this coddled, well-off guy in his 20's, yelling at this morbidly obese, lonely woman. By not showing his mother, the audience can separate the charicature of the woman from the far less funny "reality."  <sep>  Q: Why is Howard Wolowitz' mother not shown in The Big Bang Theory? A: As a writing device  <sep> FOLLOWUP_Q: What Is a writing device?
Example Output: Yes

Example Input: CONTEXT: Well no. The Genie was freed. Therefore he had no more obligation to grant the wishes, regardless of whether Aladdin had any wishes left. If we are going to count the wishes though, the movie does count the saving from drowning as the second wish making freeing the Genie the third. This would have made the Nile wish pointless either way, since either the Genie was free to deny the wish as he was free, or he was free to deny it because it would have been the fourth wish.  <sep>  Q: Does the Genie trick Aladdin with the third wish? A: Well no. The Genie was freed  Q: Does the Genie trick Aladdin into using his real last wish? A: he had no more obligation to grant the wishes, regardless of whether Aladdin had any wishes left  Q: How many wishes did Aladin receive? A: If we are going to count the wishes though, the movie does count the saving from drowning as the second wish making freeing the Genie the third  <sep> FOLLOWUP_Q: What about when Alladin tricks the Genie into getting him and Abu out of the cave where they are trapped?
Example Output: Yes

Example Input: CONTEXT: I'm sure scenes like this have been shot differently in different movies, but I have noticed that mostly the shots are faked. One option is to have the helicopter on the ground, with the engine off and the propellers stationary. The actors are inside. The camera operator moves around outside the helicopter to make it look like it's up in the air. Often, the camera is tilted upwards, shooting the actors slightly from underneath, to give a sensation of them being above the camera / viewer. The grounded helicopter may also be mounted on a moving platform to tip, raise and lower the helicopter to give the actors inside the actual sensation of movement, so their bodies shift believably. This can be shot outdoors, with actual sky in the background, or in front of a green screen, where fake sky and terrain is put in afterwards, along with a CGI propeller and reflections on the glass windshield. Another approach would be to shoot the helicopter actually in flight, and overdub the actors' dialog afterwards. In most cases, this would be more difficult and expensive.  <sep>  Q: How are helicopter scenes shot in TV/Film? A: One option is to have the helicopter on the ground, with the engine off and the propellers stationary  <sep> FOLLOWUP_Q: How are scenes wherein the characters have a dialogue inside a helicopter as well as interact with the environment outside it, shot?
Example Output:
Yes