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 Input:
CONTEXT: I think it comes down to one point - can one mind actively dream two or more states simultaneously. For the dream within a dream thing to work .... the dreamer in level 1 (Yusuf) has to dream the Pasiv (sleep) machine into existence, in order to allow people to go down to the next level (the hotel dream of Arthur). For someone to simultaneously be maintaining level 1 and be able to go to 'sleep' and maintain level 2 seems unlikely - you'd essentially have to be 'awake' in each dream state. So it appears for the dream within a dream thing to work, you need as many people to dream as levels you wish to descend. This appears to be why Cobb wants Yusuf to 'go into the field', as he needs 3 dream levels (Yusuf, Arthur, Eames) - and he does not want to be a dreamer himself (for obvious reasons), and Ariadne was a late addition to the team. <sep> Q: Was it impossible to go into same person's dream each level down, or did it serve a purpose? A: I think it comes down to one point - can one mind actively dream two or more states simultaneously Q: Why did they have to choose a different person each time they went one level deeper in Inception? A: For the dream within a dream thing to work .... the dreamer in level 1 (Yusuf) has to dream the Pasiv (sleep) machine into existence Q: Couldn't they have kept going into Yusuf's dream all the way down? A: This appears to be why Cobb wants Yusuf to 'go into the field', as he needs 3 dream levels (Yusuf, Arthur, Eames <sep> FOLLOWUP_Q: How many dream levels are there?

Ex Output:
Yes

Ex Input:
CONTEXT: I don't know this for sure, but here is my educated guess. In this featurette they're using the word "hero" to identify the "real world" Nina. There are 2 Nina's in those shots. One is the "hero" (main character of the film, whom the audience identifies with and empathizes with) and then there's the evil reflective Nina (in one shot called the "reflective element"). There's also the green-screen element. Put all of those together, and you get the final comp (comp = composite shot, which is a shot made up of multiple elements). <sep> Q: What is a "hero plate"?

Ex Output:
Yes

Ex Input:
CONTEXT: Science fiction appeals because of the mind-expanding quality, bizarre and unexpected scenarios in plausible ways. This often includes disorientation re: space and time, for example, in Planet of the Apes the planet turns out to be Earth, after the title implies some other world. Babylon A.D. also has a stop-short quality: if it doesn't quite make sense, that's the point. "Babylon" usually refers to the distant past or, as you say, the generic sense. "A.D." is both final and futuristic, not what we expect, this is neither the historical Babylon nor a generic reference. (If "C.E." is gradually being adopted, that adds to the effect.) Playfully bewildering titles aren't uncommon in fantastic films. One I've found intriguing is the U.S. title for Quatermass and the Pit (1967): Five Million Years to Earth. A few years later came Dracula A.D. 1972, and The X-Files did "Hollywood A.D." Thus, "Babylon A.D." seems less a plot reference (I haven't seen it) than an appeal to the tastes and cultural memory of s.f. viewers. <sep> Q: Why is the movie titled "Babylon A.D."? A: Babylon" usually refers to the distant past or, as you say, the generic sense. "A.D." is both final and futuristic, not what we expect <sep> FOLLOWUP_Q: Who are the stars in the movie?

Ex Output:
No