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:`.

CONTEXT: Carol had no problem understanding the guard. And the guard had no problem understanding her. The issue that Carol thought she had, was caused by pure confusion on the guards side, as the guard just witnessed some pretty freaky stuff and was still shocked by it. The guard simply didn't respond in a timely manner (actually not really at all), which made Carol think that the guard didn't understand her.  <sep>  Q: Why is Carol unable to understand English? A: Carol had no problem understanding  Q: Is her "universal translator" working? A: The guard simply didn't respond in a timely manner (actually not really at all), which made Carol think that the guard didn't understand her  <sep> FOLLOWUP_Q: Did she understand the security guard?
Yes

CONTEXT: There's an entry in UrbanDictionary.com for shoto. This seems to be a fairly family friendly forum so I'll just say that the definition is sexually explicit and the makers may have wanted to avoid any association with it - particularly for a child character. This is a guess based only on a google search for "shoto".  <sep>  Q: Why was the character Shoto in the book change to Sho for the movie? A: I'll just say that the definition is sexually explicit and the makers may have wanted to avoid any association with it - particularly for a child character  <sep> FOLLOWUP_Q: What type of sexual connection does it have?
No

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: Can you tell me anything more about the film or the director?

No