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:`.

[EX Q]: CONTEXT: Sinestro, was the leader of the Green Lantern Corps at the time and regarded to be one of the greatest Green Lanterns ever. He also had a very big ego and believed that he could accomplish what Parallax had failed to do: control the yellow essence of fear without losing himself to it. He also believed that the green essence of will power was no match for the yellow, and that if he wanted to defeat Parallax he would have to use the same power, which is why he asked for a yellow ring to be constructed. Had Sinestro's plan prevailed, he would've worn the yellow ring into battle with Parallax. The latter wouldn't be able to siphon fear from Sinestro's ring because the yellow ring didn't emit fear, it absorbed it, the same way Parallax does.  <sep>  Q: Why does Sinestro have The Guardians create a ring of fear?
[EX A]: Yes

[EX Q]: CONTEXT: Dev Patel plays the adult Saroo, so he is only in the movie for the last third or so. He's the main character but he's part of the resolution of the plot. It's a judgment call by the Academy, but his screen time is far less than that of the Best Actor nominees this year, so to call his a supporting role seems correct.  <sep>  Q: Why was Dev Patel nominated for Supporting Actor rather than Best Actor? A: Dev Patel plays the adult Saroo, so he is only in the movie for the last third or so  <sep> FOLLOWUP_Q: So he wasn't eligible?
[EX A]: Yes

[EX Q]: CONTEXT: This is one aspect of what is called the Anti-Hero. In Juno, he's just a "normal guy" and, potentially chosen because he is not someone people expect a fictional teenage girl in a movie would fantasize about. Also, they were going for a semblance of reality here rather than some weird hyper-perfect version we often see in a teenage movie. In action movies the anti-hero is quickly relatable, makes the danger seem even more dangerous. The anti-hero has a potential for growth, which is crucial for building a character. It is tiresome to see the perfect person become even more perfectly perfecter. As far as identifying with them etc. that's in the casting, writing and delivery. I am certain you can find more examples of failure in this regard.  <sep>  Q: What makes the nervous and anxious character model of Michael Cera, Jesse Eisenerg etc... so successful?
[EX A]:
Yes