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: 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]: Yes


[Q]: CONTEXT: The Yellow clothes are a type of 'Elder Endorsement', a ratification or 'pass'. The village guardians who dress up as the beasts know that if someone is dressed in yellow they have been given the Yellow cloak under the supervision of a village elder, so it is a sanctioned activity. If someone is found wandering without one, it will be assumed they're not supposed to be there. It's unlikely the 'beasts' would harm her, but they'd certainly interfere and try and scare her off/back to the village. Ivy possibly doesn't know what they're capable of. Of course, Ivy could at this point tell them she knows they're not really beasts and knows what they're doing, but within the narrative of the film her maintaining her cloak's yellow lustre removes that possibility.  <sep>  Q: Why was Ivy concerned with wiping the mud off of her yellow cloak? A: The village guardians who dress up as the beasts know that if someone is dressed in yellow they have been given the Yellow cloak under the supervision of a village elder  Q: And does that protect them in some way? A: If someone is found wandering without one, it will be assumed they're not supposed to be there  <sep> FOLLOWUP_Q: But, I thought Ivy knew the creatures weren't real?
[A]: Yes


[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  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?
[A]:
No