I think having Catwoman in TDKR (who was sexy as hell) was a definite step outside Nolan's comfort zone. She's the one element to the film that feels the most "Un-Nolany" -- which isn't a bad thing.
Honestly, in terms of style, if you added sex to Nolan's films, I don't think he'd be far off from David Lynch. Lynch is just as much of an "uncle" to Nolan's work as Roeg. They both have that surrealist, dreamy, almost uncomfortable way about them. The flashbacks of Mal's head on the train track, with her creepy voiceover, and that high-pitched buzzing score by Zimmer... Definitely Lynchesque. The disjointed structure of fragmented time (even Batman Begins does this wonderfully) is an example too.
Honestly, in terms of style, if you added sex to Nolan's films, I don't think he'd be far off from David Lynch. Lynch is just as much of an "uncle" to Nolan's work as Roeg. They both have that surrealist, dreamy, almost uncomfortable way about them. The flashbacks of Mal's head on the train track, with her creepy voiceover, and that high-pitched buzzing score by Zimmer... Definitely Lynchesque. The disjointed structure of fragmented time (even Batman Begins does this wonderfully) is an example too.