instruction:
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:`.
question:
CONTEXT: He didn't have any solid leads to go on. He didn't know where he was being kept before he eavesdropped on Malcolm and he only did that because he was following his mother after she reacted strangely on the news Walter was dead. He only got that news after his last act of cleaning up the neighbourhood got him the clue he needed. If he knew where he was in the first place, he wouldn't of believed the mob guy (saying Walter was dead).  <sep>  Q: Why didn't Oliver Queen rescue Walter sooner than he did? A: He didn't have any solid leads to go on  <sep> FOLLOWUP_Q: What show was this again?
answer:
No


question:
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?
answer:
Yes


question:
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  <sep> FOLLOWUP_Q: Why would they create a program with no use?
answer:

Yes