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: The car which they take off in at the end of the movie is the fantasy version of the car the Thunderbirds sing about during Greased Lightning and not the white car which gets torn up during the race. The Greased Lightning car, being a fantasy car, is a way of saying at the end of the movie that Danny and Sandy's dreams have come true: they will live happily ever after, or so they want the audience to believe. They ride off into the sunset together and everyone is happy for them. None of the other characters see anything wrong with it because it is a fantasy world in Danny, Sandy, and the audience's eyes, the rest of them are just seeing it as it is. At least that is my take on it. <sep> Q: What is the symbolism of the flying cars? A: car which they take off in at the end <sep> FOLLOWUP_Q: What movie is the car from?
[EX A]: Yes

[EX Q]: CONTEXT: The comment prior to the conversation with the astronauts' wives (in the control center) clearly states that Capricorn 1 is just close enough to Earth to allow the fluent conversation. Only at the most distant point of the mission the conversation gaps reach 21 minutes. Thus, there seems to be no blooper nor plothole. (I am much more worried about the Apollo mission technology used for a journey of at least a year. Could three astronauts just sit in the command module most of the time? I guess even the strongest personalities would have gone mad. There might have been a strong extended/additional stage of a modified Saturn rocket for the outward and return journey. If this stage was equipped with extra rooms, stores etc. it would appear more realistic than what we see in the movie.) <sep> Q: How is the fluent conversation with spacecraft possible in Capricorn One?
[EX A]: Yes

[EX 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 retrouve? 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?
[EX A]:
No