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: The Michael Bay Spin I'm joking, but as far as I can tell the technique doesn't really have a name. All that's happening is that the camera is moving around subjects in the foreground, and the background appears to move quicker thanks to the simple fact that it's further away. The reason I refer to it as the Michael Bay Spin is that director Michael Bay has used this exact shot (with different actors/locations, of course) in a lot of his films. In fact, the inclusion of that shot in Hot Fuzz is a direct reference to Michael Bay - Bad Boys II (directed by Bay) is bought up earlier on in the film, and if I remember correctly, the shot in question is actually shown to the audience while Nicholas Angel and Danny watch the film at Danny's house.  <sep>  Q: What is this camera effect used in Hot Fuzz? A: The Michael Bay Spin I'm joking, but as far as I can tell the technique doesn't really have a name. All that's happening is that the camera is moving around subjects in the foreground  <sep> FOLLOWUP_Q: Have you seen this used before?
Example Output: Yes

Example Input: CONTEXT: Let us assume that the love that Persephone once enjoyed was with Merovingian. Merovingian and Persephone have slightly more human traits than other programs, they enjoy fine food, wine, languages. While Persephone talks of love, Merovingian displays lust ("The lipstick that is not on Merovingian's face"). Merovingian is shown to cheat on Persephone. Surprisingly, he uses a special code to trigger sexual reactions in a woman and gets serviced by her! Persephone's envy leads her to give Neo and gang the Key Maker's location. The Oracle mentions Merovingian to be the oldest of them, a powerful program. No program other than the Oracle has the purpose to be human like. The fact that Merovingian and Persephone turn human-like is them exhibiting programmatic roguishness. Their initial purpose is not mentioned, but the period of love that Persephone mentions is when they went rogue. Merovingian controls the virtual afterlife through the train-man program. This is where exiled programs seek refuge. Though this is the current operation, perhaps in the beginning, Merovingian was created with the purpose of Programmatic Garbage Collection. Once a program has served its purpose it needs to be de-allocated from the computing resource pool. (Eg: JVM provided by Java has a Garbage Collector which does a clean up periodically). The program Persephone was perhaps a supporting function to this Programmatic Garbage Collection, which is how they met.  <sep>  Q: What were the origins of Persephone in The Matrix: Reloaded? A: Though this is the current operation, perhaps in the beginning, Merovingian was created with the purpose of Programmatic Garbage Collection  Q: Why would they create a program with no use? A: No program other than the Oracle has the purpose to be human like. The fact that Merovingian and Persephone turn human-like is them exhibiting programmatic roguishness  Q: Are there any other characters in the matrix that are similar? A: Persephone turn human-like is them exhibiting programmatic roguishness  <sep> FOLLOWUP_Q: What does the name persephone mean?
Example Output: Yes

Example 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  <sep> FOLLOWUP_Q: A first person account of what exactly?
Example Output:
Yes