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: There are two main "themes" in the book; Sex and Revenge. When you're in prison, those are about the only two things you think about. I was incarcerated for 5 years (well, just short of that, actually), and when you're not busy watching your back you're pretty much daydreaming of those two things. I can't say either of them were the most popular book in the library, but I can see where that dialogue came from.  <sep>  Q: What is the obvious reason "The Other Side of Midnight" is a popular book in prison? A: two main "themes" in the book; Sex and Revenge. When you're in prison, those are about the only two things you think about  <sep> FOLLOWUP_Q: How does it make sense since seemingly the lesson of TOSoM is to not make a plea deal because you can't trust that there actually is a deal
[A]: No


[Q]: CONTEXT: Being choked unconscious can result in short term memory loss. It is likely that Harvey Dent may not remember Rachel asking or the question. Or the assault. Choking someone out doesn't knock them out for very long either. It is possible Batman drugged Dent inside the panic room and then took him home later and he woke up in his own bed.  <sep>  Q: Did Harvey Dent know that it was Bruce Wayne who locked him up? A: It is likely that Harvey Dent may not remember Rachel asking or the question  Q: Who did Harvey think locked him up? A: Rachel  Q: Who actually locked Harvey up? A: Batman drugged Dent  Q: Where did Batman drug Dent? A: inside the panic room  <sep> FOLLOWUP_Q: WHen did that happen?
[A]: Yes


[Q]: CONTEXT: There's no overarching right answer to this. I think there are a few reasons for it: For starters, it's fun. You've mentioned lots of directors in your question who have done it and it's likely they all got a pretty good kick out of it. Think Hitchcock's many roles or Tarantino in Reservoir Dogs, or Pulp Fiction. There's also a tradition argument. Stan Lee, for example, has done it for so long now that it's expected and many fans get enjoyment out of spotting him in each of his roles. The same applies to Hitchcock. After the fun and tradition reasons, it's certainly plausible to suggest because they can. Many directors don't have the fame or recognition for a cameo role to be significant. But if someone like Tarantino, Scorcese or Peter Jackson does it, it's instantly recognisable given their fame. This can be compared to other, less famous, directors who wouldn't be recognised. Therefore, it certainly carries that making cameos gives them airtime and keeps them recognisable in the public eye. These are just a few of the reasons. I'm sure other arguments could be made, such as the fact it saves money (such as in the case of a longer role, e.g. Tarantino in Django), but it seems to be mostly about a mixture of fun and tradition.  <sep>  Q: Why do directors make cameo appearances in their movies? A: There's no overarching right answer to this. I think there are a few reasons for it: For starters, it's fun  Q: What other reason would their be? A: There's also a tradition argument. Stan Lee, for example, has done it for so long now that it's expected and many fans get enjoyment out of spotting him in each of his roles  Q: Is there another reason why? A: After the fun and tradition reasons, it's certainly plausible to suggest because they can  <sep> FOLLOWUP_Q: Do they like doing it?
[A]:
Yes